Comprised of five tightly tensioned tracks, this collection cements Orcutt Shelley Miller as architects of sonic interplay and metallic amalgamation. No lyrics necessary — this is avant-rock musical storytelling from three living legends (with the beards to prove it). 

Buyer Beware is an infernal collection of gloriously cacophonous romps; it’s arguably The Men’s best album since 2016’s Devil Music. This is a visceral and dangerous LP—in other words, it’s real rock and roll. 

We're happy to present "Post-Trash's Staff Picks: The Best of 2025" as voted by the site’s wonderful contributors (including their individual lists). With 15 of our writers submitting their votes, we had 234 different records nominated and only the top record received a collected score of sixty or higher.

From its first electric riff, Hélène Barbier’s Panorama grabs your shoulders by its proverbial hands and shakes you into a new world. Like waking up from a long and restful sleep to see the bright sun of a new day, Panorama is off-kilter in a way that finds us balanced.

Written during these years and beyond, Port Ross’s sprawling, flexible debut relies on instruments and stories from his Salt Lake City upbringing and 2023 move to Brooklyn. Nighttime at Gardner Hall grapples with family conflict, relationship trauma, and that financial struggles that bubble up as you set sail for adulthood.

Maneka has a knack for melding disparate musical ideas into a fully coherent mélange of sounds that are new and exciting, yet never stray too far from the project’s foundations. Bathes and Listens reveals another layer of Devin McKnight’s talents, which continue to unravel and reveal new joys.

Brighton quartet The New Eves released their full-length debut, which weaves mystic folk and avant-garde art rock. They disrupt playlists of today by incanting, incessantly strumming and plucking, tapping until the shape of a song emerges, waving a flag for feminist anarchic folk-punk.

Oruã’s latest full-length is called Slacker, which could be interpreted ironically considering we’re being treated to it less than a year after the band’s previous album PASSE, and just a month after their split EP with Reverse Death.

We present Post-Trash’s Year In Review, featuring one hundred of our favorite releases throughout 2025. It’s been a great year for discovering new music and we hope you find something you love. Dig in and explore.

Psych-jazz legend Shintaro Sakamoto announced his perfectly titled Yoo-hoo back in November, sharing “Dear Grandpa” and “Is There A Place For You There?” in its wake. This evening in America and this morning in Japan, Post-Trash is thrilled to premiere a live, in-studio performance “Is There A Place For You There?”

Dubbed as “thee Nyxy Nyx self-titled record” Self-Titled is like wading through the weeds without worry, nothing to jumpscare you except the slow-creeping angst of disillusionment. But the further you dive in, the more you think there might be a chance of redemptive catharsis out there somewhere.

Flaschenträger, the freshly released album by Maraudeur, feels not only intimate but also spontaneous, even deliberately unpolished. Flaschenträger is a gratifying experience for listeners who enjoy music that embraces rawness, tension, spontaneity — and the beautifully absurd.

It took years for listeners to rediscover his work, but today, Nick Drake is celebrated and frequently cited as one of the greatest songwriters of his era. Drake’s new box set is more than a collection of studio sessions, a book, and a remastered album. It is an invitation into the mind and private world of a singer-songwriter who remained unwaveringly true to his voice and style.

Thirdface imagine the ministerial cafeteria as something similar to a prison cafeteria where only your worst self gets to live another day. For all of its concerns with life’s abjections, Ministerial Cafeteria is not a hopeless record. It just has its eye on the prize.

Post-Trash’s Kurt Orzeck chats with Aaron Turner of Isis, Sumac, Old Man Gloom, and Mammifer about being a father, a collaborator with Pharaoh Overlord, and a multidisciplinary creative.

Burnover is a remarkable home run for Greg Freeman. While he takes big swings over and over throughout its runtime, he knows to play to his strengths, and in doing so, he leaves a fabulous impression.

North London’s Sorry has dropped their 3rd LP, Cosplay, and it is a doozy. It’s lyrically potent and stretches the possibilities of what an LP can or should or would sound like with layers of electronics, guitars, beats, and style.

Merzbow has always been unafraid to delve into music’s harshest, most desolate corners, often creating a profound meditative state. With Akio Jeimus, the pair present a different face of improvised music – the “contained,” hermetic chaos of the studio, and the new feral life such pieces take in live settings.

While we all eagerly await the next RONG record, Ollie Becker is set to release two new records from their archives, the debut albums from Other Joliah and Hairbrush, both due out on December 13th via Erased! Tapes (Dennis Bleach, Queen Crony, Damien Scalise).

Re-treading the territory of forgotten melody and approaches feels rather special and exciting.Tony Molina is one of the standard bearers of analog jangle pop in this age of increasingly electronic and digital signal based music.

In the leadup to Ugly Hug and Post-Trash’s benefit fest this Sunday at the Empty Bottle, both sites are featuring each project on their respective sites. Sleeper’s Bell hits the stage third, bringing their memorable expressions and tender storytelling. Shea Roney recently sat down with Blaine and Evan about their upcoming album, life’s hidden alignments, and reflecting on their first big tour.

In the leadup to Ugly Hug and Post-Trash’s benefit fest this Sunday at the Empty Bottle, both sites are featuring each project on their respective sites. Uniflora hits the stage second, rearing their sweaty punk spirit and indebted melodies. The trio chats with Shea Roney about being labeled a “youth” band, balancing ego and confidence, and their latest projects.

Post-Trash’s Giliann Karon chats with Helen Ballentine of Skullcrusher about switching labels, moving back home, grief, and their impact on her latest record And Your Song is Like a Circle.

1985: The Miracle Year shows the crucial role Hüsker Dü played in the mid-80’s US punk/hardcore scene, as well as their massive influence on the indie and popular music landscape. This set is a treasure for fans and newcomers alike that shows a band continuing to grow and traverse new musical directions while living up to their reputation as a powerful live band.

Maria Bertel is a fearless artist at the peak of her creative pursuit. As humble as she is virtuosic, her work is a dazzling display of how symphony can be coaxed out of cacophony. Post-Trash’s Khagan Aslanov chats with the Danish trombonist on her education, process, and introductions to unorthodox music.

The Lentils’ Takin’ It Easy the Hard Way is tied together by a sense of love lost. Not always romantic, but every song seems to address a lost loved one, a failed dream.

Live At the Leather Fly cements Paul Leary’s status as one of the greatest guitarists of his generation. Butthole Surfers were one of the greatest bands of the 80s, and anyone not blinded by the mainstream would be hard pressed to listen to this album and declare otherwise. 

Nashville singer-songwriter Vivienne Blue makes Americana-pop for hopeless romantics. “Always on My Mind” is a burning post-break up ballad, a song that sounds pulled right from the Laurel Canyon golden era. Vivienne Blue makes Americana-pop for the