Kyle Gilbride (Swearin’) is set to unleash a new project on the world called Missing Earth, and Post-Trash is pleased to premiere “Parliament of Trees,” the first single from the band’s debut LP, Gold, Flour, Salt which is set for release on November 16th on Salinas.
Once again teaming up with Forged Artifacts, the Brooklyn via Portland bedroom pop auteur will release Happy Bday on October 19th, a fuzzy dose of clever pop songs and slacker “college rock” charm.
Ocean Pines is reflective and personal, a lo-fi recording with soft acoustics and gentle songwriting. It’s a hard left turn, but Mr. Husband has never sounded better. Stark and peeled back to the simplest of states, Tompkins’ songs work incredibly well as minimalist folk.
Set to release Grand Design later this month via Super Wimpy Punch (Blue Ray, Dust From 1000 Yrs, Blue Smiley), first single “I’d Do More” once again finds the trio creating calming yet intricate indie magic.
Set to release Cuckoo Bird Sings a Song via Goliad Media on October 26th, the record was recorded by none other than JAILL’s Vincent Kircher, who together with the rest of JAILL served as Coleman’s studio band.
“Wail” does more than the name implies though, it rips and shreds too. Right from the first pummeling blast of ragged power-chord propulsion, the band build up a dense and impenetrable stampede, eardrums be damned.
New York quartet Gnarcissists have carved out a return to snotty, brash, and filthy punk on their self-titled debut EP. It’s built on jangly punk riffs that recall the grime of the city’s bands in the 80’s, spitting, slurring, dangerously belligerent, and glorious reckless.
The rhythm section plays tight and unflinching, the ever dependable support system, while the twin guitars sprawl and squirm, working together to blanket their sound with layered distortion and a cavalcade of spacey riffs and blistering punk.
Due out on October 5th via Forged Artifacts and Disposable America Records, the album was recorded with Bradford Krieger at his Big Nice Studio, capturing fleshed out versions of Alexander’s demos and voice memo recordings.
“Clock Tower” is a rapid blast of extreme stoner sludge and rampaging rhythmic attack, a compulsive trampling that rips until there’s nothing left to rip, digging its way through a cavalcade of shifting riffs.
Due out on September 27th via King Pizza Records, the album comes just a month after the band’s split EP with The Rizzos, expanding on that promise with a scourge of fuzzy riffs and snotty party anthems.
Crawling Passed is an incredible outpouring of everything that makes Milked (and Geronimo! before it) so special. The colossal fuzz still reigns supreme, but the band push further in every direction, from acoustic pop to ruthless hardcore, incorporating it all with charm and grace,
Chicago band Bruges comes from a long line of heavy hitters. With members listing credits from the likes of Angry Gods, Moral Void, and Den, there is no shortage of brutality packed into this four-piece. It’s a masterful utilization of space and restraint, as noise and desperation slowly put the listener into a vice grip.
E-X-E-P-1-4 moves at an incredible pace, but even if it were double its length there still would not be a boring moment. There are head-bobbing guitar antics, noise breaks, and manically fast vocal trade-offs crammed into songs that range from one-and-a-half to two-and-a-half minutes.
The yearning atmosphere and swirling repetition of “Cut My Heart in Two” immediately ensnares the senses on first listen, yet it’s the subtle evolutions that the track takes which really propel it into instant earworm territory.
Dead Rider have always been about presenting what’s possible and how divergent ideas can sound cohesive. And so they’ve done it again with a new record on Drag City that offers Dead Rider joining forces with experimental/noise musician Paul Williams. The pairing is met with synchronicity from both sides, each matching the billowy artistic madness of other.
“American Beers” bridges together delicate harmonies, heavy acoustics, and a brilliant viola line, tangling their lines with a post-rock grandeur while leaving the emotional heft firmly with the band’s more earthy aesthetic.
Orlando's Bloom relies on a focused yet casual aura, the sound of "lounge" pop from another planet, easy going and genuinely immersive. Completed all on the original tape reel up until mastering, the record was made without computers, an electronic sound delivered analog.