EIEIEIO released four EPs in the span of a year, each with a frantic chaos, mixing technicality and a reckless nature with accessibility and brevity. Their songs are short, hooky, and utterly wild. This past weekend saw the first anniversary of their split with Gorgeous, and for all who celebrate, we have two brand new videos from the team.
We don’t always get closure, but we deserve closure. In These Arms Are Snakes’ case, it took twelve years for the Seattle institution to close the door on what is one of the weirder and wilder catalogs in punk. Post-Trash’s Jordan Michael sat down with Brian Cook to discuss the band’s end, their legacy, and getting back together to close it out.
The Virginia veteran has pushed his coke laced raps and menacing flows through decades, staying solid through a quickly changing commercial rap landscape. Four years after the release of the Daytona he returns with his excellent fourth record It’s Almost Dry, a celebration of form and technique as consistent in tone as it is in quality.
Obsessions with bending the mainstream into 90s culture and reaching Cobain-levels of fame have dominated Momma’s new direction, with not only the overarching album message, but also with their music videos. Momma seems to be wearing that kind of influence and curiosity on their sleeves, in terms of championing the 1990s.
New Haven-based quartet The Tines deliver an exquisitely-arranged piece of urgent indie pop on lead single "Collarbone," from their upcoming self titled debut album. Led by the boundlessly melodic songwriting of S.G. Carlson, the track glides through peaks and valleys under the power of soaring Western-inspired guitar leads
Back in May we premiered the excellent double-sided single “Feelin’ Far” b/w “Everybody” from the increasingly prolific Chicago project Old Joy. It’s been a busy year for frontman Alex Reindl, who has since released the Go Away Evil EP while gigging aplenty. Today, we’re excited to premiere the accompanying “Feelin’ Far” video.
Black Midi continually evolve to the theatricality of the spectacle. They will stop at nothing to conjure and bring us for the spectacle. At long last, Hellfire is their studio album level spectacle; available for home surround sound systems, car CD players, tape decks, or the transient online comatose system of the internet.
Melbourne’s Heir Traffic make brooding post-punk reminiscent of hometown legends The Birthday Party and The Drones, combing a sinister sense of gothic folk into the well-crafted dissonance. They’ve shared a pair of singles since forming back in 2019, but this year marks their full length debut, No Hearth, out 8/26 via Marthouse Records
Mushfoot arrive like “a rose from the concrete,” a band making beautiful music out of harsh production and thickly layered noise pop. Comprised of Greg Albert (The Rainbows, Spite FUXXX), Katie Vogel, and Ian Davis, what began as demos eventually became Time Before Land, the band’s debut album, out September 30th via Moone Records.
Alayne May’s exceptional songwriting is in revelatory form and if the singles are any indications, this record is shaping up to be real special. No doubt a choice cut, “Beast” contains a chorus boasting an inescapable hook where May’s twangy vocal intonations and moving chord progression propel the song into ear worm territory.
Primitive Man’s latest release, the EP Insurmountable, builds on their brutal foundation over four tracks spread out over forty minutes. At no point does the EP prove to be an easy listen, but inflections of groove and harmony offer a little bait-and-switch that leads listeners right back into the pit of chaos that the band curates so well.
The teenage band, part of the same burgeoning scene as Horsegirl, play with an adventurous sense of volume, tonality, and the kind of raw musical insight that drove the catalogs of legends like Fugazi and Unwound. Lifeguard chase their own tangents, digging between post-hardcore dexterity and the refined sense of post-punk precision.
No band to play with, no audience to play for, and the weight of so much change in so little time, Katie Alice Greer began a project that would become her first solo album, Barbarism - writing, performing, producing, and mixing an entire record herself, building something that could expose who she is creatively when no one else is looking.
Sophie Weil’s solo project is rooted in stark minimalism, but where her previous album embraced an almost ambient/drone approach, she’s pulled away on upcoming album The Code. Due out 8/19 via Post Present Medium, Syko Friend’s latest favors skeletal string performances, focusing on both acoustic and electric compositions.
