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.

Doom-curious death-metal delinquents Innumerable Forms may not be the most charming crew you’ll bump into but as far as this band’s ever-improving music is concerned, the third time’s the charm with Pain Effulgence.

Minneapolis’ she’s green has been on the move. They’ve performed alongside Hum and Chapterhouse, shared the stage with Turnover and Narrow Head, and will soon tour Europe. In June they released swallowtail, successfully bridging the gap between seminal shoegaze and the genre’s current renaissance.

It’s no surprise that Turning Yr Back on the Dolphin reveals a formidable songwriter in Erica Dunn. There’s not a bad song on this record, even the weakest track is quite solid. She has absorbed the lessons of Townes Van Zandt and Joni Mitchell and created a batch of impeccable songs.

If the sun shines every now and then on I Lost My Way For Centuries, the sextet’s upcoming album, you get the impression that it’s okay. Due out September 18th, The Drin are still operating within shades of grey, but there’s more nuance to be found than ever before on their sprawling double album.

The fluid writing process of Navy Blue and his collaborators is where the strength of his artistry lies and on Sir Render this perspective fully takes shape. Navy poses central statements, theories, and personal emotions with his ethereal yet relatable rapping but never acts as a point of authority.

The themes of mclusky’s first foray into recorded music has remained intact ever since My Pain and Sadness’ initial release. It established that, right out of the gate, the trio were so sardonic that they must’ve had their tongues pressing against their cheeks throughout the entire record.

Spread Joy move with a relatively relaxed pace on their latest single, “Iambic Pentameter”. Opening with a seasick tension and squealing guitar noise, the song comes bursting into its razor sharp rhythm, clearing the pallet and cleaning the tone before the song’s limbs expand in opposing directions.

As stratospheric as their current rise most certainly is, Angel Du$t didn’t come out of nowhere. Ever since signing to Run For Cover Records last year though, Justice Tripp, the band’s mainstay member and lead vocalist, has been on a tear.

Up to this point in time, Pearl & the Oysters albums have mostly been self-produced, albeit well produced. Consequently, their music has always had a synthy, arcade game bedroom pop feel. But the array of musicians enlisted to play on Monkey Mind allows them to expand into more dynamic territory.

I Think We’ve Met Before is a fascinating album, one that could in time reveal itself to be a masterpiece. It’s a unique work, and Amy Rose Mills’ virtuosity keeps the proceedings strange and foreboding throughout.

Heather The Jerk tears from one massive hook to the next, shredding on guitar, bass, and drums while her vocals rattle around sweetly inside your head. It’s got all the charisma of power-pop with all the reckless disdain of punk, leaving a trail of smiles in the process.

Slurry, drawly, and riddled with intentional flubs, Ultra Lights are a throwback in the sense that they’re impossibly endearing, which was far more common in the world of indie-rock in the late ’90s, after self-loathing had run its course; and in the early ‘00s, before irony murdered joy.

Columbarium Niches, the latest from Pennsylvania’s Psychic Flowers, is an ambitious record. Weighing in with no less than twenty songs, it’s the first release from David Settle’s (The Fragiles, Big Heet) lo-fi power-pop project in five years and it would seem he’s got a lot on his mind.

Chinook is the full length solo debut from Mallory Hawk, a record that presents a wide array of styles and emotions. She delves deep into it all with grace and a learned knowledge that comes from years of experience in the world of the music industry.

Hell On Earth, Ismatic Guru’s sixth EP (and second this year) is due out next week on August 27th via Toohill’s Swimming Faith Records (Science Man, Calice, Vipers), another adventurous ride through their acidic punk cavalcade of misfits and real-life monsters.

Pardoner are back. Today, Post-Trash is thrilled to premiere “Twisted,” the killer lead single from their forthcoming LP Target Practice. On their latest, the San Francisco outfit aim for their “Heavenly Pop Hit™” with playful concision and sharp songwriting.

Music critics tend to want to ascribe some type of evolutionary process to every artist’s catalog. That simply isn’t the case with Alienator’s Brutal Occupation which basically sounds the same as their music did when they formed. It’s even more important to recognize that ain’t a bad thing.

Andrew Sacher is pushing forward, both with his newsletter, Unhappy Place, and his upcoming book, Emo Revival: Community, DIY, and Rebirth in Post-Hardcore and Emo. Today Post-Trash is sharing an exclusive excerpt that examines Hop Along’s 2012 album Get Disowned.

With Dari Bay, Zack James works his dreamy indie-pop into a melange of “classic rock” melodies, experimentation, and the sweet cool of bands like Alex G and Trace Mountains. Handling most everything on the record himself gives the project a sense of true freedom.

While never announced, Lady Bones quietly called it a day back in 2017, but not before recording one more album that has been shelved ever since. Fast forward to 2026 and that album, Downed, is set for release next week. We’re reintroduced with “Centerfold,” a propulsive ripper of tension and anxiety.

It’s no surprise that Nick Vicario has flipped the switch again. The sonic territories exhumed on Speculative Fiction feed a guitar-rock lover’s appetite, hitting the palate of late ‘70s and early ‘80s garage punk, post-punk, power pop, even traces of indie pop.

Post-Trash spoke with Amy Rose Mills shortly after the release of her new album i think we’ve met before to gain insight into the record’s creation, the meaning we can find in everyday signs and numbers, and why Mills almost didn’t release the album at all. 

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.

Today, Post-Trash is thrilled to premiere Old Joy’s "everything song”. Written on dog walks, the Austin-by-Chicago’s latest number is the answer to his own question; “If I could only ever write one song, what would I want to say?”