"Fuzzy Meadows: The Week in Review" is a weekly round-up of the best new music premiered this week across the internet. It's a weekly embarrassment of riches, let Post-Trash be your guide. It's the weekend, here's what happened...
KAL MARKS | "Coffee"
[SPIN]
"Despite it mostly slow pacing, “Coffee” isn’t stagnant, constantly revolving its chord progressions and intensity. The focus stays on the bass and Shane’s voice, which sounds tired and far away throughout the song — until the end, when the rhythm picks up and Shane’s weary singing surges to a strained yell." - Natalie Caamano, SPIN
GUN OUTFIT | "Make Me Promise"
[DIY Magazine]
"Despite running at just over a minute and a half, Gun Outfit’s latest is as sprawling as the dusty, parched expanses it draws to mind ... it’s a sharp-edged slice of dreamy Americana fit for a summer’s haze." - Tom Connick, DIY Magazine
GUN OUTFIT | "King of Hearts"
[Stereogum]
"features the band’s characteristic burnished country sway and the cuttingly forlorn line “every time I see you, I want to fall in love again.”" - James Rettig, Stereogum
DEFTONES | "Prayers/Triangles"
[Rolling Stone]
"...moves deftly between the elegant and brutal, with swimming guitars guiding a near-psychedelic verse that gives way to an elegiac, but monstrous chorus. Frontman Chino Moreno unleashes a stirring vocal performance that's soaring and ethereal one moment, ragged and torn the next." - Jon Blistein, Rolling Stone
PARQUET COURTS | "Dust"
[Stereogum]
"a fierce, propulsive rocker, a sort of garage-punk take on krautrock. Its video, from director Johann Rashid, shows us the apocalyptic visions of an office drone. " - Tom Breihan, Stereogum
TY SEGALL | "Emotional Mugger"
[Indie Wire]
"Boasting an early-David Cronenberg vibe, the long-form music video cuts together various version of songs from Segall’s album into one epic 14-minute effort, delivering bold visuals, great special effects, and a distinct framework for the musician’s rock 'n' roll." - Kevin Jagernauth, Indie Wire
EAGULLS | "Lemontrees"
[DIY Magazine]
"shines far brighter than anyone could have expected. Soaring, clearly Cure-influenced washes of guitar set the pace for Eagulls’ return - in the place of the chainsaw riffing of the debut comes a shimmering new guise. Talk of dancing beneath those titular lemon trees drags the lyrical agenda away from British monotony and into sunny new pastures, too, Eagulls now opening their hearts rather than shying away in the shadows." - Tom Connick, DIY Magazine
PJ HARVEY | "The Wheel"
[Noisey]
"a bluesy maelstrom of brass, ferociously pounded drums, and insistent handclaps. She's echoed and responded to by an incantatory choir, her refrains of "and watch them fade out," as the song hurtles towards its close, are hypnotic and unsettling too." - Kim Taylor Bennett, Noisey
PUFF PIECES | "Women And Men w/ Guns"
[Impose]
"Their music is jittery, pointy, and nervous: songs as in love with D.C. punk history as they are frustrated with the city’s current gentrified face." - Jes Skolnik, Impose
MUSEYROOM | "Ranges"
[FLOOD Magazine]
"It opens on a bitter-twinged arpreggio of synth and uncomfortably glitched acoustic guitar. Those craggy pods eventually bloom under the gentle power of the trio’s vocal harmonies, but the song never really feels smooth, despite its desire to do so. Imagine Merriweather Post Pavilion–era Animal Collective trying to recreate their original campfire vibes." - FLOOD Magazine
PORCHES | "Car"
[NME]
"One of the strongest tracks from the record, Maine told us it's about positive mental attitude, and "leaving a place where you're unhappy and the beauty of arriving somewhere where you feel good. Whether you escape physically or mentally it's just about using your facilities to take control of your situation."" - Matt Wilkinson, NME
SOUPCANS | "DOB"
[Noisey]
"Soupcans video for "DOB," which features the band using their instruments to smash a variety of foods. There's lettuce being shredded on an electric guitar, meat being mashed into a cassette player, an a pumpkin being dumped on by a brick on an acoustic guitar." - Noisey
CAVERN OF ANTI-MATTER | "Liquid Gate (feat. Bradford Cox)"
[The 405]
"Cavern of Anti-Matter move under the microscope in their enthralling video for 'liquid gate,' where vibrant rainbow-infused microscopic cells dance to the sound of the eclectic band's brand of indie electronic energy, which features vocals from Deerhunter's Bradford Cox." - Samantha O'Connor, The 405
BAMBARA | "All The Ugly Things"
[SPIN]
"The second single off of Swarm, ‘”All The Ugly Things,” reads like a hailstorm: the punishing beat and swirling vocal layers nearly drown out Bateh’s words, but he gets his point across regardless: “All of the ugly things are lit up so pretty.”" - Megan Bradley, SPIN
FEELS | "Tell Me"
[The Fader]
"a track that uses hook-heavy guitar and a solid beat to lure you into singer slash guitarist Laena Geronimo tenderly pleading (pretty sexily, too, for that matter) for her lover to tell her what the heck it is they want." - Leah Mandel, The Fader
CIGARETTE | "Housewife"
[Impose]
"Directed, edited and performed by Kinlaw, the video was filmed in one shot by Jonathan Campolo (also of SOFTSPOT and PILL), in Kinlaw’s home state of North Carolina, taking us through a dance interpretation of the “every-day of the housewife.” As the opening chords are calmly struck, Kinlaw enters what is presumably the front door of her home, turning on the light and dutifully taking off her shoes. An elaborate dance ensues, finding its own rhythm, be it sometimes manic and hurried, among the hushed sound of the track." - JP Basileo, Impose
YUCK | "Cannonball"
[DIY Magazine]
"The guitar lines rip their way gleefully through the track like a riff-obsessed gremlin loose in a newspaper factory, Max Bloom cooing fuzz-drenched, barely distinguishable lyrics over fearsome, clattering drums." - El Hunt, DIY Magazine
TEEN SUICIDE | "Alex"
[Paper Magazine]
"...Baltimore-based Teen Suicide's impetuous, guitar-smashing video for "Alex". Taken from their forthcoming album It's the Big Joyous Celebration, Let's Stir the Honeypot, it's the group's first release since 2012 after operating as the solo project of frontman Sam Ray with the help of a rotating cast of supporting musicians." - Sandra Song, Paper Magazine
WRITER | "Mosquito BItten"
[Paper Magazine]
"...hits the sweet spot between the languid crawl of early Pavement and the nourishing fuzz of Dinosaur Jr., but with a melody strong enough to ward off accusations of being a nostalgia act."
SHEER MAG | "Can't Stop Fighting"
[Stereogum]
"Presumably the precursor to an upcoming release, the song uses Christina Halladay’s authoritative voice in the same way all the rest of the band’s songs do, espousing a rousing, anthemic, and infectious message of empowerment" - James Rettig, Stereogum
WINTERSLEEP | "Santa Fe"
[Noisey]
"The song feels like a trip to the beach—minus the dreadful sunburned and the dreadful indecent exposure. It's short, sweet, and full of moments. "Santa Fe" has glimmers of old school sound that mixes with new school techniques like vocoding." - Byron Yan, Noisey
THE WORLD | "Managerial Material"
[Noisey]
"At times it comes with the fun house party vibe of early B-52s. Grace Ambrose, content coordinator of Maximum Rocknroll magazine, knows more about fidgety punk than most. She describes the band as such: “The World’s a post-punk band, sure, but they’re also a dance group, a wild and revolutionary art collective, sounds from the past catapulted to the future.”" - Tim Scott, Noisey
MOGWAI | "Ether"
[Stereogum]
"Scottish post-rock heroes Mogwai are releasing Atomic, a reworked version of their soundtrack for the BBC nuclear warfare documentary of the same name, in a couple of months ... now they’ve shared another new track, “Ether,” which debuted on Mary Anne Hobbs’ BBC Radio 6 show" - Peter Helman, Stereogum
STEPHEN MALKMUS & THE JICKS | "The Quiet Music Festival Of Portland"
[Stereogum]
"The entire set consisted of “re-arranged songs, one-off covers, and deep rarities from the depths of our catalog,” according to Jicks keyboardist Mike Clark, and the performance was captured on analog 2-track 1/4″ tape." - Peter Helman, Stereogum
MASS GOTHIC | "March of The Cigs"
[Stereogum]
"A long intro with warning sirens and a vicious, menacing bass line signify the controlled chaos that comes later. Rhythmic guitars and drums give way to an all out shred session with dense layers of electric guitars and atmospheric sweeps that cut through the thickness. All of this lifts the haunting anguish of the hook “All of the nights we kill to live/ All of the nights” to soaring heights, making it easy to sink into the elongated latter half and get lost." - Collin Robinson, Stereogum
LOW | "Into You"
[Pitchfork]
"Low have shared a dreamy video for "Into You," taken from last year's Ones and Sixes. Directed by Jim Burns and Beth Chalmers and filmed in Glasgow, Scotland, the video frames the band's live performance in glittering beams of light." - Zoe Camp, Pitchfork
and of course, on Post-Trash...
BABY BIRDS DON'T DRINK MILK | "Love Me Denver"
[Post-Trash]
"A song for the morning after that showcases what they do so well. Layers upon layers that create an ethereal feeling. The vocals buried so deep in the mix that the words tend to be lost, but the sound and feeling of them are not, each member harmonizing together to create their signature sound." - Jonathan Bannister, Post-Trash
MIDDLE PART | "Middle Part" EP
[Post-Trash]
"The 5-track EP alternates between dark and light tones and heavy and slow rhythms. Middle Part (pre-order here) straddles the line between hardcore punk and noise music, which can be seen on tracks such as ‘Fight Song’, where Hong’s vocals loop until they are distorted and harsh." - Julia Leiby, Post-Trash
LANTERN | "Happy"
[Post-Trash]
"The song itself is a twinkly, sonically lush pop song along the lines of early Youth Lagoon or Woods. Analog warmth is all over “Happy”, and Lantern keep everything clearly on the field of play. There are few surprises, and the end result is an astoundingly listenable song that conveys a distinct and somewhat seasonal weightlessness." - Niccolo Dante Porcello, Post-Trash