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?”

Post-Trash’s Sam Cohen chats with Victoryland’s Julian McCamman about moving to New York, their upcoming tour with LCD Soundsystem, and collaborating with Dan Howard on their latest record My Heart is a Room With No Cameras In It.

Cate Kennan has already established herself as one of the most intriguing musicians of her generation, one of the few to explore the language of dreams and the subconscious. Shadows is arguably one of the masterpieces of the decade so far.

Set to release their second album Operator! on September 18th via Siltbreeze Records Eraser double down on deranged melodies, hypnotic rhythmic pulses, and serrated lyrics that are both politically minded and absurdist. The record is a dizzying trip of warped synth punk abandon.

Having recently released “La Dimora,” Outer World return today to announce their new album HOME, due out September 18th via Wilson’s own Courtesy Desk and the legendary K Records, a record that finds its home wherever it can - a place of comfort, a state of rest, a moment of peace.

Post-Trash caught up with Josaleigh Pollett ahead of their new album If I Let It Quiet to talk productivity, trans-Pacific musical songwriting partners, loving Ratboys, friendship, and more.

Philadelphia’s Bruise Bath make heavy rock music in a catch-all sense, but tune to a brutal earnestness that abandons any pidgeon-holing genre platitudes. Today, we’re thrilled to premiere “Blood on My Tongue” off Bruise Bath’s upcoming self-titled full length.

Across Endeavors – their 10-song, 17-minute debut – Consensus Madness deliver a "love-letter to proto-punk, first wave, and hardcore punk as a whole."

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.

In Light of Recent Events delivers a social survival guide to the sheer volume of chaos and nonsense churned up since we last saw Eddy Current Suppression Ring. It’s eleven tracks of their signature garage-punk, hewn together by able hands and a voice for today.

Even when life feels a bit on tilt, Sadie Dupuis is an affable interview subject, personable and blessed with razor-sharp insight. She sat down with Post-Trash to discuss grim reapers at protests, the GOATs of the short song format, and the physical and mental hurdles that ultimately led to cutting loose and having some fun.

Where “Violent Peasant” was locked in with a transfixed progression, “Atrophy” aims for something a bit dreamier (though equally discordant). The song finds Allison Durham on lead vocals, giving space for the band to spiral into the song via her 12-string guitar, kicking up dust with casual resolve.

There’s a palpable release of satisfaction when the building angst of Daundry’s measured alternating riffs explode into a cleansing wall of noise capable of drowning out even the most persistently gnawing thoughts.

Post-Trash’s Jade Marantz chats with Joey DeFrancesco and Victoria Marie of Downtown Boys about the importance of unionizing, optimism as an act of resistance, and their new record Public Luxury.

Post-Trash’s Khagan Aslanov chats with Berlin-by-Baltimore art rock group Horse Lords about the influence of Just Intonation, Sacred Harp, a new cast of players, and pure intuition on their latest record Demand to Be Taken to Heaven Alive!

So-called “negative” hardcore band Gunner is the successor to another Perth band, Semtex 87, with a similar aim, if you will: to vomit forth music so cacophonous, discordant and abhorrent to most that it will repel and chase them away.

It’s no secret we here at Post-Trash are big fans of Joyeria, and we’re delighted to premiere the leadoff track and first single from the London-by-Canada band’s upcoming LP Decay Decay Decay.

There’s been a lot of music released so far this year and someone on the internet might as well make a list out of it. Everyone has different taste. We all like different things for different reasons and that’s sort of the beauty of it all. Might we suggest these fifty albums, EPs, and one incredible split seven inch.

Nashville’s Styrofoam Winos have been a part of some of the biggest alt-country comeups in the last five years. Their new album Any River is an infectious, intimate slate of tracks blending folk-country tradition and the modernity of collective avant garde songwriting technique. 

Benji Heywood chats with Zoh Amba on the eve of their Matador debut to talk about Kingsport, TN, the struggle to make the album, and finding the people who have your back no matter what. 

One could argue that Souled American’s Sanctions is the most unfashionable album ever released. It’s their first album in thirty years, and the Scott Tuma-less band has made an album that’s weird, spectral, and haunted, with none of the concessions to trends that usually mar reunion albums.

Consensus Madness are back at it with “Superfund,” taking aim at the government’s general lack of concern for our environment. The song stampedes forward on an overdriven riff and a brash rhythm, calling out the devious attempts to turn contaminated areas into new and hip neighborhoods through endless funding.

Giliann Karon premieres Trophy Wife’s third single from their upcoming full length Pathetic, out 7/10 via AWOL.

Post-Trash’s Kurt Orzeck chats with June of 44’s Jeff Mueller to chat reuniting, playing overseas, side projects, nautical themes, and the relationship with one’s own work.

Moontype’s second full length I Let the Wind Push Down on Me is as emotionally charged as its predecessor. It plays like a document of McCarthy’s twenties, shaped by loneliness, self-reinvention, and addiction.

Beck Zegans has shown great depth and strength through her previous songwriting in Goo. Her solo debut Engraving of Armor highlights and accentuates that skill, as these songs travel down emotional paths filled with determination and warmth.