Post-Trash.com is thrilled to present Post-Trash Vol. I, the first of in our expansive promotional compilation series. Highlighting the best of independent rock music, Post-Trash Vol. I pulls from a wide range of sounds and styles, presenting everything from lo-fi bedroom pop and anti-folk to blistering hardcore and experimental punk.
Dead Ass brings in a sonic blend of post-hardcore and indie-punk. Mark Fletcher, Max Kagan and J Boxer all share equal songwriting duties, trading off lead vocals in a style that takes a hint from the early days of the Beastie Boys. The 15-minute run time of Dead Ass is greatly used to exemplify the diverse range of songwriting influences that have inspired Stringer, with each track providing its own variant of modern punk rock
“Grave Digger” finds Ellis at a relaxed moment, hitting a point somewhere between Iji-esque yacht rock and Pavement-like expansion of ideas; the most remarkable moments are those when Ellis’ vocals come in, pushed high above the instrumentation, his clearly being the literal and figurative voice to focus on.
Buzzsaw guitars mingle with electronic and organic drum beats and heavy bass, all amidst a downpour of boy/girl harmonies that bring to mind a more ethereal version of Velocity Girl’s Sarah Shannon and Archie Moore. There’s a perfect marriage of punk grit with their pillowy sounds, and just when you think they’ve gone full Enya (really it’s more Lilys or Lush on mellow opener “Dream Again”), they reach back into the buzz-bin and pull out metallic riffage (heard on the Sabbathy-y second track “Heavy Metal Suicide”) or full-on guitar heroics (like on the swaying, Pumpkins-like “Guilt”).
Garge Munk isn’t the strongest introduction to Marge or Gunk’s work, but for what-appears-to-be just leftovers, it’s a testament to how good they really are. The songs complement each other and work really well as a single track. It’s an exciting statement of unity from two bands in Philadelphia’s scene of overflowing creativity.
It's a stomping album that sits at the three-way intersection of post-punk, hardcore punk, and math-rock. The metallic and riff-heavy elements of their 2012 LP Collision have been toned down in favor of a tighter noise-meets-hardcore dynamic. Past Tense documents a band that successfully evolved their sound without losing the aggression and dynamic songwriting that initially set them apart from more traditional hardcore artists.
False Punk’s latest release serves as a reliable partner in crime to any situation that involves raising hell, cracking beers and lurking about the city like a creep. Despite the sporadic nature of the EP as a whole, each mood appropriately transitions from song to song and allows for a natural flow of cheeky angst and abrasion to encompass its dark story.
Written and recorded in its entirety by Hartlett alone, Is Stupider possesses the same intangible ability to slowly creep into your being without your knowing and kind of just stay there. It’s the work of a songwriter whose trust in his aesthetic instincts and taste renders a product that will affect a receptive listener on a profound and anthem-like level.
Some bands are full representations of their label. Soccer Team is a Dischord band. Ryan Nelson and Melissa Quinley who started the band both at one time worked for Dischord. Five-seconds into listening to their new album Real Lessons in Cynicism you know that there is no other label that the record could've come out on.
Dusk is an alt-country band from Appleton, Wisconsin that write dynamic pop music with a heavy dose of New Orleans' soul and front-porch Americana exuberance. Led by Tenement's Amos Pitsch, the songs on their debut single "(Do The) Bored Recluse b/w Too Sweet" are far from punk, opting for piano and pedal steel "shredding" in place of anything loud and distorted.
There's nothing graceful or elegant about the name Snakehole or the music they make, and it's safe to say the deranged noise punk duo wouldn't have it any other way. The Miami based band formed in 2011 as "an outlet for female rage" and five years later their fury remains as determined as ever, evident on the band's latest self-titled EP via the always dependable Wharf Cat Records.
The band is self-described as “commuter-rage” and it’s easy to see why. Despite You is the illustration of frustrations caused by working day in day out, pushing through crowded trains and packed buses to go between a job and a cramped apartment. In each track, rage and tension build while frustrations break apart in a noisome blast of energy.
