With an insistence to continually experiment, a wide-ranging combination of styles, mesmerizing vocals, louder-than-hell guitars, and mayhem-filled atmospheres, the record continues to show why APTBS remain one of the best.

Kane Strang, the guitarist and songwriter for the excellent New Zealand band Office Dog caught up with Post-Trash during their tour they just wrapped up supporting Nada Surf to discuss the genesis of the project and how the band was faring on their first US tour.

EELS is the second album from Being Dead, introducing the Austin, TX trio to a wider audience while still delivering garage oddities and glorious girl-group tinged harmonies. Falcon Bitch and Shmoofy continue to expound upon their imaginative songwriting, defining their unique musical universe.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Peel Dream Magazine, known for trying something completely different than the shoegaze-y dream pop on their first records with 2022’s largely solo effort Pad, have found a way to both bridge the gap, extending it backward in time and forward in aesthetic on their latest.

A weekly post highlighting but a few of our favorite new releases in splendid alphabetical order, brief and (hopefully) informative. There’s a lot of great music out every week and these are but some of the many we think you should check out.

Toronto hardcore juggernauts S.H.I.T. are back with their bone-crushing new album For A Better World, a collection of seven loathing anthems that wriggle into loosened eardrums with relentless determination

It’s hard to imagine a larger gulf between an artist’s persona—in Basinski’s case: joyous, bawdy, mischievous—and work. Basinski’s decaying tape loops are desperately lonely and beautiful, yielding one of ambient music’s most influential works, The Disintegration Loops, among many others. Attending a live performance of the work is akin to experiencing a new sense.

The strangeness possessed by every particle of living is the framework for the explorations of Whodunnit, the seventh LP from the Ruination Records co-founder, songwriter, and multi-instrumentalist. A sweeping discography is condensed into gorgeous and surreal musings.

What's incredible about APTBS’ Synthesizer is that despite being extremely aggressive, frantic, and harsh, it also manages to be stunningly beautiful, super catchy, and very human. Oliver Ackermann spoke to Post-Trash about the record, playing intense live shows, and his company Death By Audio. 

Coming little more than a year after Goodnight Neanderthal, Prehistoric Chrome is the outfit’s longest release to date, with eighteen tracks spanning across 26 minutes. Every song is a full-on tire-squealing, rubber-burning energetic punk rock drag race.

Thematically, Cool World picks up where God’s Country left off. Except now, as vocalist Raygun Busch has explained, those themes have “exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another.”

Eight months after the release of their last single, the band return with the hypnotic “Snare,” a song tangled in detached grooves and pointed lyrics. Ringing with distortion and a minimalist structure, the band dive into sustained noise, clamoring beats, and swirling momentum.

Rong Weicknes is Fievel Is Glauque’s most enthralling record, continuously inviting the audience into its marvellous world, where the immensely packed layers of melodies across the buoyant instruments and vocals create the most expansive moods that the band has ever achieved.

Smoke Bellow, the Baltimore-via-Australia core duo of Christian Best and Meredith McHugh, seem to have understood the process of creating something that sounds new, consciously or instinctively (or both) when they developed their fourth and final album, Structurally Sound.

Few bands have literary ambitions, and fewer still capitalize on those ambitions quite like Nap Eyes. The Neon Gate, their fifth album, achieves a kind of cerebral simplicity, fusing ambiguous and atmospheric musical gestures with alluringly mysterious lyricism.

With their latest, Lust Online deftly combines shoegaze, synth pop, and dream pop in a very captivating and memorable way while also creating exceptionally warm relaxing atmospheres and vivid soundscapes.

A weekly post highlighting but a few of our favorite new releases in splendid alphabetical order, brief and (hopefully) informative. There’s a lot of great music out every week and these are but some of the many we think you should check out.

“Magic Mind,” one of the record’s brightest shining moments, fuses together country twang with a melodic power-pop glue. It’s the kind of song you want to belt out among friends on a hot day with cold drinks. The video matches the good spirited vibe of the song to perfection.

Electric Bouquet, Anna McClellan’s fourth album, came from a period of transition, a time spent adapting to new places, new relationships, new careers. It’s time spent ungrounded, watching the chips fall where they may, while settling into herself with a gentle focus.

Jamison Field Murphy’s (Tomato Flower) solo debut, It Has to End, finds him continuing to lay down intricate and complex guitar figures but this time indebted to psych-tinged pop, full of reflection as well as a hauntingly strange tension.

Kramer’s return carries the same vigor of that halcyon Shimmy-Disc; collaborate with your friends and let the session speak for itself, more or less. When David Grubbs and Kramer made the decision to turn Squanderers into a live act, both agreed it could only be achieved with Wendy Eisenberg.

Mo Dotti’s music contains so many reference points, too many to count. In the end, as Guy Valdez puts it, “We just sound like us.” Post-Trash caught up with Valdez and Gina Negrini to talk about the band’s humble beginnings, DIY empowerment, and their new record, Opaque. 

The Smile’s latest album, Cutouts, was recorded during the same sessions as Wall of Eyes, which was released earlier this year. Sometimes the follow-up album takes a massive dip in quality, but Cutouts stands alongside its predecessor as it is equally spectacular.

Opaque expands upon what their past, doubling down on the brand of shoegaze tapestries that they’ve earnestly adored. They carrie forth influences from My Bloody Valentine, Cocteau Twins, and Slowdive, whose characteristics offer comfort within the raw noise.

Geordie Greep has hit the ground running with his debut, The New Sound, a dense yet inviting album that seeks a middle ground between avant-rock intensity and breezy pop schmaltz. Greep is an inviting presence, one whose clear love and joy for music bleeds through our conversation.

Some Kind of Heaven finds Knitting ruminating on adolescence, queer identity, and feeling out of place over sludgy distortion and breathy vocals. The quartet of Montreal newcomers presents a master class in slacker rock with introspective lyrics that pose more questions than answers.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Self-described as “an imagined soundtrack for a lost kung fu film,” Mongkok Duel brings the two groups together in an experiment that draws on elements of garage punk, krautrock and, perhaps most importantly, 70’s funk, a critical aesthetic in so many martial arts exploitation films.

A weekly post highlighting but a few of our favorite new releases in splendid alphabetical order, brief and (hopefully) informative. There’s a lot of great music out every week and these are but some of the many we think you should check out.