Ranging from the early Dischord years to the present, Shudder To Think touch on what it’s like to perform now versus then, the new record coming out in 2027, and communing with the dead, including an intimate remembrance of their friend Jeff Buckley. 

The precedence of Box for Buddy gave TSIMB a sequel feeling; however, this isn't Amos' The Empire Strikes Back. The familiar Lorelei autone is absent, and each track is lyric-heavy. If vocals filled dead air on his debut, TSIMB flips the script, campaigning that his prose is the real deal.

Chat Pile’s view of the current and future state of the world isn’t just bleak but cataclysmic. So why does the band manage to draw legions of fans? For one, they commiserate with us over what we all know will precipitate the apocalypse if it does in fact arrive.

Chris Spencer (Unsane, Human Impact) recently spoke with Post-Trash contributor Kurt Orzeck about life on the road, the strange attraction of noise rock, remastering the Unsane catalog, and the many pitfalls that lurked around every corner for a loud band in the late 80’s and early 90’s.

Chicago’s tightest art punks are back with an album of frenzied rhythms and quick rippers, which they describe as a “full-bodymind workout.” Their first album in four years sees the band lean harder into tempo changes, odd time signatures, and surprising new rhythms.

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.

Nekra's first EP came out on La Vida Es Un Mus back in 2020, and Is It Really Living? is only the proper follow-up — five songs, eight minutes, no filler and no room for any. This isn't a band chasing momentum. It's a band that waited until it had something worth saying, then said it as fast as possible.

The debut EP from London via East Suffolk outfit 1000 Rabbits, introduces a very young but musically accomplished band who met at a music workshop in Aldeburgh as teens. They have now moved to London, drawing on influences such as supper club jazz, 60s folk-rock, as well as skronky art rock.

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.

In a scene chock-full of hyphenated subgenres ending in “-punk,” C.O.F.F.I.N’s lack of frills is exceedingly refreshing. The pretense is practically non-existent. The fun? Abundant. It seems turning up the amps and belting out rock’n’roll rippers is a winning formula.

There is no shortage of garage-rock bands out there taking a stab at the alternative sound; it’s simply one of the most popular sub-genres rock has to offer. There is, however, no one doing it quite like Dazy. Goodson has a lock on the short yet explosive nature of the genre.

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.

The usual descriptions applied to Dinosaur Jr.’s music like scuzzy, ear bleeding, and feedback drenched seem overused to the point of cliché. These aspects are all present on There Near, but they are not what make this album distinctive. Instead, there is an open exuberance that contrasts with their canonical recordings.

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.

Demand to Be Taken to Heaven Alive! might be the band’s best case for their expanding sound, using a wide array of resources to add more depth and volume to their geometric approach to composition while avoiding convoluted maximalism or overproduction.

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

APTBS are a must-see live band for anyone looking to step outside their everyday life or walk away with something they won't forget. With that in mind, they've released Rare And Deadly, an album that translates that same energy onto record, collecting demos and B-sides from 2015–2025.

While the past five years have seen the band evolve from a solo act to five-piece wrecking crew, Tyler Fassnacht's vision remains painstakingly in-tact on their 2025 release, Sucker With A Dream. Full of unrest, anxiety and rage, this record never leaves you feeling bored or alone.

Mod Mayday 23 is a collection of covers and rough recordings now remastered for a considerably larger audience. While the most obvious Sharp Pins comparisons come by way of the Beatles and Guided By Voices, these selections give new clarity into the touchpoints he’s actually going off.

Acid Casualties have always been a band that defined themselves comfortably as a classic hardcore unit with an impeccable songwriting ability. Flags are False continued in this vein with more impressive guitar shredding, unforgiving vocals, and a punishing rhythm section that lends the whole record its reckless momentum.

Propelled by her unmistakable vibrato, the songs on her debut solo album Wild Love are just that—feral bursts of protest infused with the joy of being alive. Nina Winder-Lind spoke to us from her home in Brighton, exploring her childhood in Sweden, the raw moments that went into recording the album, and how collaboration and catharsis are integral to making art.

Is It Now?, released almost a year ago on Stones Throw Records, is one of those albums that sounds almost familiar, but not in a boring or repetitive way. It greets you with a familiar groove while capturing the feeling of being on an uncertain, exciting, and unsettling road trip.

No Fun at All is the full length debut from Philadelphia four piece Mesh, a band who play a mix of propulsive and jumpy new wave-inflected punk and jangle forward power-pop, adding a sense of tenderness and reflection in the process. 

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.

Magic Fig’s sophomore album Valerian Tea inaugurates them as heirs to a glorious, long dormant psych-prog tradition. This spacey, expansive record for the most part steers clear of any second album trappings - in fact, this album is perhaps better than their eponymous debut.

Gaudet and co. remind us that the world of the Kiwis contains a much wider, weirder strain of power-pop than may first meet the eye. They’ve never been a shambolic band - quite the opposite - but there is an extra sense of confidence that is palpable throughout Blowin’ Up.

We’re dealing with a "scathing critique" of America in 2026 on Reign of Flies, the latest from Society. Not only is Sims Hardin tackling the great, snarling U.S. beast, he's doing it with "fist pumpin'/foot-stompin'/head-bobbin'" grooves, basement punk with teeth and pop flourishes to boot.

In between stints on their Bitknot tour, Post-Trash’s Sam Cohen caught up with Feeble Little Horse’s Lydia Slocum and Sebastian Kinsler to chat about their new collaborative process, mansplaining David Berman, and the visuals that inspired their vintage-meets-tumblr aesthetic.

Jim Blaha has spent more than two decades making loud and weird music around Minneapolis with The Blind Shake, Green/Blue, etc. On Hang From A Cloud, the debut from I Will Die In This Jean Jacket, he hasn’t completely left that history behind him, he’s just turned the lights down.

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