The familiarity that surrounds Constant Humming is a blessing and a curse. For an album that was self-recorded in an unfinished basement, it packs a surprising punch. Good Sleepy might not shake free of their past, but Constant Humming will stick in your rotation for the foreseeable future.  

“stars implode” opens with sustained synths, keys, and a gluey rhythm highlighted by gobbinjr’s bass progression. Just as you’re sinking into the song, things shift around, elements dropping out as others arise, the entire framework remaining in tact but the details fade and reappear in new shapes.

Post-Trash’s Benji Heywood chats with Manchester’s Mandy, Indiana about despair, hope, healing, touring North America, and the arduous process of making their incredible new record URGH.

Nearly three years after the release of their exceptional debut EP, the band are set to return with Graceful, their first full length. Due out on May 15th via the team of Perennial and K Records, the album is a brilliant display of up-beat exuberance, power-pop resonance, and towering hooks.

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.

Sydney Salk’s “Various Artists” returns to round up some of summer 2025’s best compilations and the causes they support, with choice picks from Silicone Prairie, Progressive Knife, Pin-Up Girls, Zulo, and Buzz Kull.

Editrix’s The Big E is the perfect soundtrack to hurrying through a city. The three-piece, comprised of vocalist/guitarist Wendy Eisenberg, bassist Steve Cameron, and drummer Josh Daniel, build urgent, propulsive music with virtuosic lead guitar work and full-send riffage.

Yoo-Hoo is an album that masquerades as being the opposite of urgent. Hiding behind languid dips into bluesy surf chill and folky flute, it is in fact incredibly timely and temporal. On a 0° day in the heart of a frigid Chicago winter, some tropical, existential lucidity is exactly what is needed.

The Big Them are not fucking around with their physical, volatile, and heavy-ass approach to acidic punk. The band of seasoned noise veterans possess an inherent sense of melodic understanding and instrumental control. Today, Post-Trash is thrilled to premiere the lead single “Yellow” from The Big Them’s upcoming album Four Colours.

On Sunday, February 1st, three of the Midwest’s best took the stage in a packed Chicago basement. TV Buddha, Artificial Go, and Good Flying Birds put on the most excellent show in recent memory. At the show, poet Thax Douglas preceded each band’s set with an original work inspired by each performer.

Blog rock is alive and well in Victoryland. The one-man project of Brooklyn transplant Julian McCamman, but his debut album isn't stuck in the past. While guarded, My Heart Is A Room With No Cameras In It reveals peak indie still has the power to change your life. 

Cleveland punks Suitor carry the post-punk torch of Rock n’ Roll City, USA. Today, Suitor announce Saw You Out With the Weeds, their Feel It Records debut. Post-Trash is excited to be premiering the record’s stunning lead single “Factory.”

The Midwest is preserving rock n’ roll’s roots. Indie youngsters Sharp Pins and Good Flying Birds are booming through small clubs and college radio stations, and the newest jangle all-star to join their pack is Joe Glass.

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.

Anna Altman are back with “Figure 8,” a song that’s long been a staple of their live sets. Built on an incredible drum pattern from Christian Billard, the song unfurls from a gorgeous arpeggiated progression into full blown metamorphosis as it orbits between bent indie rock and crisp pop ease.

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.

Post-Trash’s Khagan Aslanov chats with Martin Kanja aka Lord Spikeheart, about learning to scream and sing, the African metal scene, and his great-grandmother’s legacy, which is the inspiration for his debut LP Adept.

Teenage Tom Petties aren’t megastars - they probably never will be, and it’s doubtful any of them would ever want to be. But it can still be fun to pretend, and Rally The Tropes is exactly that - a brilliantly crafted and wonderfully executed exercise in playing pretend.

After the release of his debut album in 2018, Jo Passed (aka Jo Hirabayashi) spent a couple of years recovering from burnout that made him put his music project on the wayside. Back with the help of new collaborators, Jo Passed wades through some of his darkest years with exuberant textures and distinctly tuneful compositions.

Rather than merely paying tribute to their influences, Xiu Xiu has turned them inside out. Xiu Mutha Fuckin Xiu is a whirling jukebox of the various disparate songs that fed into the band, now coming out as a grand testament to everything that makes them such an important act.

Night Moth’s new single and upcoming record is exactly what you think might happen when you put members of Clifford and Squitch together, and we’re psyched to premiere “Rumination Song” today at Post-Trash.

Bad Dream Songs is for the angsty twenty-something spinning their parents’ dusty copies of Unknown Pleasuresand In the Flat Field. Perhaps Cemento will deservedly provide the backing tracks for the imminent gothic renaissance.

Post-Trash’s Giliann Karon sits with Nick and Shane Sullivan of Joyer to chat conflict within kinship, and working with Slow Pulp’s Henry Stoehr on their second Julia’s War release, On the Other End of the Line…

Dreyer enter a world that’s bright and twangy on lead single “Three Sisters Garden,” a song that’s bristling with immediate charm and loose melodic jangle. It’s part alt-country and part power-pop with a touch of Modest Mouse itchiness, but there’s an undeniable splendor to it all.

Leather.head’s cathartic blend of emo, prog, scramz, and jazz recounts modern woes with a visceral approach. Rather than sounding like the end of the world, Mud Again is the reaction to its imminent arrival.

Benji Heywood chats with Peter Katz of Peaer about classical music, joy at the end of the world, and the band’s excellent new record Doppelgänger, out now on Danger Collective.

The Boston-based Tiberius add their own flair to alt country on Troubadour, blending stirring emo swells with the lush, atmospheric hums of folk and country that stretch out like winding psychedelic passages on the prairie horizon. 

Post-Trash’s Kurt Orzeck chats with Eugene S. Robinson, who reveals the reasoning behind his decision to “self-deport” from America, his new project Buñuel, and why he decided now was the right time to reissue the 1984 LP, Muru Muru, by his early band Whipping Boy.

Lawn returns with their third LP—God Made the Highway—their best since 2020's Johnny and their first on Exploding In Sound Records. The band eclectically pivots between nostalgic jangle-pop and mordant post-punk, as the duo-powered Lawn ensure each song on God Made the Highway has its own sound and identity.

In the run-up to the release of their latest – the gargantuan-sounding Ferrum Sidereum - Post-Trash sat down with Massimo Pupillo to talk about the fixation on spiritual and humanistic ritual Zu’s latest delves into.