The Bruise is said to be inspired by doom metal and avant-garde drone, and while they might play into Cronin’s languid structures, they do not play into the sound. Emotionally heavy and weary of our world, her music is soft, gentle, and built around unflinching vocals and acoustic textures.
Wesley & The Boys have a lot of energy. Their energy translates into explosive live performances, as heard on their Euro Tour Tape ‘26, a new live album out today via Swimming Faith Records. Released to coincide with the band’s upcoming European tour, its pure garage rock adrenaline filtered through the sweat stained world of basement punk.
Dummy’s third full length album, Do You Love The Color Of The Sky?, goes further down the rabbit hole, adapting the “baggy” sound of Free Energy into something more outré, leaning into the band’s electronic impulses imbued with both textural drones and sun-soaked pop.
After three years of singles and EPs, Deady are set to release their first full length, HUNKA JUNK, digitally this Friday via Romanus Records. The Louisville based quintet’s album was worth the wait, a record that really shows a wide dynamic range, peeling between layers of anthemic punk anthems, frayed post-hardcore, and combustible noise pop.
Whippets are set to release their second album, No Skulls, via No Coast (Wristwatch, Bobby Hussy, Julian Heresy) this Fall, an album that proves itself to be appropriately freaked out, waiting for impending doom but exercising the sonic freedom to simply ignore it.
If the sun shines every now and then on I Lost My Way For Centuries, the sextet’s upcoming album, you get the impression that it’s okay. Due out September 18th, The Drin are still operating within shades of grey, but there’s more nuance to be found than ever before on their sprawling double album.
Spread Joy move with a relatively relaxed pace on their latest single, “Iambic Pentameter”. Opening with a seasick tension and squealing guitar noise, the song comes bursting into its razor sharp rhythm, clearing the pallet and cleaning the tone before the song’s limbs expand in opposing directions.
Heather The Jerk tears from one massive hook to the next, shredding on guitar, bass, and drums while her vocals rattle around sweetly inside your head. It’s got all the charisma of power-pop with all the reckless disdain of punk, leaving a trail of smiles in the process.
Columbarium Niches, the latest from Pennsylvania’s Psychic Flowers, is an ambitious record. Weighing in with no less than twenty songs, it’s the first release from David Settle’s (The Fragiles, Big Heet) lo-fi power-pop project in five years and it would seem he’s got a lot on his mind.
Hell On Earth, Ismatic Guru’s sixth EP (and second this year) is due out next week on August 27th via Toohill’s Swimming Faith Records (Science Man, Calice, Vipers), another adventurous ride through their acidic punk cavalcade of misfits and real-life monsters.
Pardoner are back. Today, Post-Trash is thrilled to premiere “Twisted,” the killer lead single from their forthcoming LP Target Practice. On their latest, the San Francisco outfit aim for their “Heavenly Pop Hit™” with playful concision and sharp songwriting.
While never announced, Lady Bones quietly called it a day back in 2017, but not before recording one more album that has been shelved ever since. Fast forward to 2026 and that album, Downed, is set for release next week. We’re reintroduced with “Centerfold,” a propulsive ripper of tension and anxiety.
Today, Post-Trash is thrilled to premiere Old Joy’s "everything song”. Written on dog walks, the Austin-by-Chicago’s latest number is the answer to his own question; “If I could only ever write one song, what would I want to say?”
Set to release their second album Operator! on September 18th via Siltbreeze Records Eraser double down on deranged melodies, hypnotic rhythmic pulses, and serrated lyrics that are both politically minded and absurdist. The record is a dizzying trip of warped synth punk abandon.
Having recently released “La Dimora,” Outer World return today to announce their new album HOME, due out September 18th via Wilson’s own Courtesy Desk and the legendary K Records, a record that finds its home wherever it can - a place of comfort, a state of rest, a moment of peace.
Philadelphia’s Bruise Bath make heavy rock music in a catch-all sense, but tune to a brutal earnestness that abandons any pidgeon-holing genre platitudes. Today, we’re thrilled to premiere “Blood on My Tongue” off Bruise Bath’s upcoming self-titled full length.
Where “Violent Peasant” was locked in with a transfixed progression, “Atrophy” aims for something a bit dreamier (though equally discordant). The song finds Allison Durham on lead vocals, giving space for the band to spiral into the song via her 12-string guitar, kicking up dust with casual resolve.
There’s a palpable release of satisfaction when the building angst of Daundry’s measured alternating riffs explode into a cleansing wall of noise capable of drowning out even the most persistently gnawing thoughts.
It’s no secret we here at Post-Trash are big fans of Joyeria, and we’re delighted to premiere the leadoff track and first single from the London-by-Canada band’s upcoming LP Decay Decay Decay.
Consensus Madness are back at it with “Superfund,” taking aim at the government’s general lack of concern for our environment. The song stampedes forward on an overdriven riff and a brash rhythm, calling out the devious attempts to turn contaminated areas into new and hip neighborhoods through endless funding.