The Holy Grail: Bill Callahan’s “Smog” Dec. 10, 2001 Peel Session is a modest effort that nonetheless has much to say about both Callahan’s evolution and his consistency. This EP doesn’t rewrite history exactly, but it is revelatory about the contingent steps taken by him as an artist, more apparent in retrospect, thus amounting to a kind of rosebud explaining the move from one chapter to the next.

The no wave avant-pop rockers have unleashed the full power torrent that is Subtropical. It’s an energetic and idiosyncratic album that sees Variety tapping into something special, like a Beefheartian post-punk that is occasionally reminiscent of Clash the Truth-era Beach Fossils or Sheer Agony.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

When Burlington singer-songwriter Greg Freeman quietly dropped I Looked Out, his first record released under his own name, there was little fanfare. Looking back at it two years later, with this new vinyl reissue and a follow-up record seemingly imminent, it stands as a showcase of an exciting songwriter who came out of the gate with a fully realized musical vision and unique lyrical style, and nowhere to go but up.

Nashville’s my wall introduces their approach with three words that make perfect sense in combination but a fourth that doesn’t — in what world is noisy, punkish doom meditative? On the quartet’s second album, OVER, my wall finds room for atmosphere to weigh on noise rock.

Everything Matters, Everything’s Fire takes the sugary, dreamy goodness of Fig and turns the catchiness up several notches. The layered guitars, plodding beats, and Gep Repasky’s trademark bright yet laid back vocals are still here, but there’s an added pop direction.

Black Curse’s second album, Burning in Celestial Poison, is 45 minutes of excruciating malevolence. Four years after their debut, the band returns with four curses, recited with impenetrable shrieking and swirling guitars hollering from the depths of Hell.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Cosmic Waves Volume 1 is sort of a compilation. That “sort of” categorization is due to a rarely applied (if done before) concept - a musical dialogue between Angel Olsen and five other artists/bands chosen by her. Side A features the label’s artists while Side B finds Olsen covering songs from their respective catalogs.

Strum is the new EP from St. Louis, Missouri’s Picture That. The record’s stripped back moments contrast nicely with the lush and cheery amalgamation of guitars of other tracks, showing the dynamic range and the band’s ability to effectively build kinetic energy before crashing into a dense fog.

There’s no better evidence for why the band has stayed so relevant than their mind-altering new album 13" Frank Beltrame Italian Stiletto with Bison Horn Grips, an astounding slice of psychedelia-tinged noise-pop. Music is more than mere purpose to Jamie Stewart but intrinsic to their life just as it is to the listeners.

Four albums in, the 2nd Grade modus operandi remains consistent, but the explorations in genre and rock sub genres feel ever expanding. As always, on Scheduled Explosions, the majority of the songs are guided by sweet melodies and Peter Gill’s pleasant and bright voice.

We're happy to present "Post-Trash's Staff Picks: The Best of 2024" as voted by the site’s wonderful contributors (including their individual lists). With 25 of our writers submitting their votes, we had 372 different records nominated and only the top four records received a collected score of sixty or higher.

Straw Many Army is not a band to listen to if you are wanting to disengage from the realities of living in America and the world at large. The duo of Owen Deutsch and Sean Fentress have built their music to tackle these issues head on, they strip them bare for all to see.

The Live at Value Sound Studios album by The Submissives is an honest, versatile, chamber of preternatural affairs. Full of satirical, distorted sounds, the band are reminiscent of 60s kink-style, psychedelic-fueled rock and riot-y Mommy Long Legs qualities.

We present Post-Trash’s Year In Review, featuring 150+ of our favorite releases throughout 2024. It’s been a great year for discovering new music and we hope you find something you love. Dig in and explore.

The album is a masterclass in texture, creating dynamic, ever-flowing tracks that range from meandering, ambient art pop to compositional jazz to good old-fashioned noise. Each song is alternately lush and stripped back without compromising on richness or depth.

Now a four-piece group, The Green Child has released their latest sci-fi-esque synth-pop album, Look Familiar, via Upset the Rhythm/Hobbies Galore. Building on their already-established sound, this album showcases tighter grooves and a collective focus.

It feels stupidly cliché to say that a band called Twine sounds “rough,” “frayed,” or “wound-up,” but the most defining quality of the Australian quintet’s full-length debut New Old Horse is how tense and abrasive it is.

7xvethegenius — “Love” for the uninitiated — has one of rap’s unique flows. Poetic in rhythm and biting in delivery, 7xve’s wordplay is like a prize fighter, ducking jabs and delivering knock out blows. She spoke with Post-Trash’s Benji Heywood about perseverance, technology, and her new album, Death Of Deuce.

Nobody Loves You More is undoubtedly Kim Deal’s most sincere album. Its warm and sunny tone has been widely noted – there is a pink flamingo on the LP’s sleeve like it’s a Christopher Cross album – and explained as a reflection of her unanticipated time in Florida.

“Peace” is an immediate song, blasting out the gate with a dreary wall of sound, the tone bleak but massive all the same. Lee eschews abrasion though as “Peace” sounds heavenly, the dirge of distorted guitars and pounding drums embedded in swollen melodies.

It takes a lot of chutzpah for a band to dub themselves the progenitors of a new genre, but Seattle’s Black Ends are up to the task, trading in what they call “gunk pop.” A sideways inversion of pop-punk, deep from the Pacific Northwest ethos of bluesy, heavy grunge and raucous, righteous Riot Girl.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Thurston Moore has been quite busy as of late. His most recent release, Flow Critical Lucidity, is a brilliantly crafted album. With the help of poet Radieux Radio, it manages to be a worthwhile time showcasing Moore’s immaculate musicianship, still unsurprisingly fascinating.

Scrunchies, a band from Minneapolis brings a bombastic and explosive excitement to their latest album, Colossal. The band have an unbridled intensity and a unique style that pays homage to bands before them yet still showcases their ingenuity within the riot grrrl genre.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Shoegaze is having a moment – anyone with the technology can create something from their bedrooms. Widespread access is a net positive but also flattens the final product. If anyone can construct a track, it takes more to stand out. Luckily, Her New Knife doesn’t have that issue.

2 is indeed the second album from Texan four-piece Queen Serene and within the confines of its release we find a band honing their biting, muscular, guitar-forward spirit with a gauzy musical intensity that refuses to wither. 

Clouds in the Sky… is one of those records that feels destined to wriggle into the bones of anyone who comes across it—a heartbreak album that can stand in for literally any kind of messy grieving, whether universal or personal, amorphous or hyper-specific.