The band are set to release their sophomore album, Don’t Wait For A Sign, on April 22nd via Slumberland Records, a record that takes the formula of their already great debut and improves it in every way. The production is more radiant, the arrangements are top-notch, and the vocals are full of warmth.
Throughout The Lurch, the band repeatedly pulls the proverbial rug out from the listener. The album is a thing in constant motion, always changing. Noise, thrash, speed, bonkers time-changes, The Lurch has it all. Contortionist riffs and sprinting rhythms double back on themselves like ascending switchbacks on a mountain pass.
Scrunchies return with Feral Coast, their second album, due out April 1st via Dirtnap Records and State Champion Records. The new album picks up where the first left off, big enormous riffs (that often serve as hooks), melodic earworms cutting through the dissonance, and a heavy pummel that grinds with wall of sound density.
forever music, Dey’s fifth proper solo release, sees the Melbourne experimental pop artist taking a bold new approach. As her first self-released album, she sheds much of the vocal filtering and overlapping tracks that defined her earlier work, often feeling more intimate than the previous album’s already open-hearted art pop.
Pinch Points remain steadfast in their righteous anger. For all the ways the world has changed since the release of their 2019 debut, the list of alarms to sound has only gotten longer in the wake of ongoing environmental catastrophe. The band’s Acacia Coates and Adam Smith spoke to Post-Trash about their first professional recording experience and navigating the relationships between people and social systems.
Sometimes it is hard to connect the title of an album or EP to the music enclosed, but that is not a problem here. In these excruciatingly hard times, Babehoven’s Maya Bon asks an equally hard question that connects all the songs here - what if we decide to exclude ourselves from everything that makes it so hard?
Bodega welcome 2022 with their third full length, Broken Equipment, carrying on their acerbic and pointed songwriting full of anti-capitalist sentiments and nervy energy that wriggles and bounces all over the place. On this record, front person Ben Hozie slightly softens the songwriting approach of previous releases.
The Baltimore/DC project formed in late 2019, sticking together through a global pandemic and many, many, wildly convenient MARC train rides. Sun Hymns is the name of their brief and easy debut and today we’re premiering “My Oh Mind,” a warm and steady lo-fi pop number that shows how Posmic makes things look easy.
Last year was full of a lot of metalcore releases, with new stuff from Converge, The Armed and the final release from Every Time I Die leading the charge. Vein.fm’s This World Is Going to Ruin You shows that 2022 is looking like another promising year for the genre. The album wears its influences on its sleeves.
Primal Matter was worth the three-year wait. The Cincinnati-based post-punk band continues their minimal wave impulse and leans heavier on melodies and grooves to elevate the songs into a tremendous sonic aerospace. The drum and bass have more direction, while the production creates a polychromatic musical feast.
We’re premiering the Jhariah, Marco Sah, and Sam Goblin-featuring track “O Kristi,” a cutting punk number aimed at South Dakota governor Kristi Noem. A former South Dakota resident themself, they express disappointment and rightfully criticizes the representative’s voluntary decision to turn the state into a record-breaking COVID Petri dish.
Naja Naja are a post-punk duo based in Beijing, China, set to release their self-titled debut EP shortly via Wharf Cat Records (US) and Bié Records (China). With their introductory single, “Dong Dong,” the duo of Gou Gou and Yuhao are creating music to escape within, experimental pop songs with a krautrock core.
Nyokabi Kariuki’s Peace Places: Kenyan Memories is an EP worth thinking about in regards to the language of the abstract. Over the twenty eight minutes, you never hear a synthesizer. In its place there are voices harmonizing melodies, humming out a scripture of its own accord, communicating in languages that tie Kariuki’s six songs.
While technically an extension of 2020’s Long Haired Locusts, last year’s Saltergasp presented the band in a different light, subverting the tongue-in-cheek funk rock gestures of their debut into thrashing, high tempo motifs and noise-scrambled shreds of wailing riffs. The band spoke about their songwriting, playing live, and the future of their sound.
