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.

Mess Esque’s Jay Marie, Comfort Me is a slow-burn album that rewards repeat listens. It doesn’t hurt to play it loud, which accentuates the quiet moments and lets the cacophonous ones crash over you.

Various Artists returns! Post-Trash’s Sydney Salk compiles the best compilations from Spring 2025, featuring NYC legends, weirdo French dub, and antiwar punk from across the globe.

To deem Hymnal as a “special album you don’t often come across” may be a tired platitude, but it’s necessary for a work this complex and technical. The grandiosity of American composer Lyra Pramuk’s latest record is owed to its variegated synthesis of classical, folk, and techno sensibilities.

Two years after the release of Derealization, Julia, Julia returns with Sugaring A Strawberry, due out on September 9th via Suicide Squeeze Records and Happy Sundays Records. The album is gorgeous and dreamy, surrealist and psychedelic, an auditory plume of haze on a hot summer day.

Dummy is known to genre hop, with ambient tracks like “Ethereal Security Guard” that experiment with the form and fabric of a melody. “Oceanographer” falls into this camp, built from a freely picked guitar and textured with the air of crashing waves running through a tinny amp.

In 1977, the Voyager space probe was sent into outer space with a golden record compilation of speeches, sounds, songs, and other culturally significant recordings. The music of Monde UFO could easily be the mystic interstellar answer to that record from another galaxy or dimension.

Presenting our Mid-Year “Essentials,” a selection of fifty hand-picked records that come highly recommended by one person with questionable taste. There’s a lot of music out there and it certainly doesn’t all get the coverage it deserves, so let Post-Trash shine a light on some gems.

Subsonic Eye’s fifth album is here. Singapore Dream is a notable contrast from the band’s previous work; quicker paced with an even stronger thread of identity. The Singaporean project’s latest record explores and champions both the self and the sound.

Mei Semones’ debut full length Animaru is singular, accessible, inviting, and likeable. Brett Williams reviews the record and her gig at Ace of Cups in Columbus, OH.

Monarch Joy is a chemistry experiment gone so wrong it's right. Science Man’s latest finds them carving out their own niche in hardcore, sticking to the genre’s roots while propelling it forward at a rapidly distorted rate. It’s hard to fathom that a project this aggressive and bleakly dystopian is such a cathartic, convivial listen.

MSPAINT’s No Separation EP drives the poles of blistering synth-punk and unflinching hardcore even further apart. Post-Trash’s Giliann Karon spoke with vocalist DeeDee about their new EP, MSPAINT’s rapid ascent, and the Hattiesburg scene.

Welcome to “Essentials,” a sporadic column for new music recommendations from one lifelong chucklehead with questionable taste. It’s similar to “Fuzzy Meadows” except the title makes more sense and we’ve removed the words “best” and “weekly”.

Gruesome’s rip-roaring Silent Echos so thoroughly beats the listener into submission that Merriam-Webster might have to devise a term far more potent than “bludgeoning,” “battering,” or “abusively punishing.”

For their new album, Smut recorded as live as they could, channeling the intensity, excitement, and feeling of what a concert sounds like. Tay Roebuck of Smut chatted with Post-Trash about chaos, Sydney Sweeney, their new album Tomorrow Comes Crashing. 

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.

It’s clear from the get-go that Ossuary are here to kick ass and chew bubblegum. And they’re all out of bubblegum. The Madison band’s expertise at drilling masterful metal riffage into the brains of their listeners is evident from start to finish on Abhorrent Worship.

In celebration of their latest release, The Infinites are sharing an incredible new video for “Jen’s Antiques,” directed by our favorite stop-motion video director extraordinaire, Taylor Browne (see videos for Variety, Nolan Potter, and Queen Serene).

Joined by Michael Grigoni, Mark Nelson’s latest record as Pan•American generates the most meditative, featherweight feeling documented by the project in recent memory.

Post-Trash discussed with Johnson the themes behind the new album, including why he makes music, and a significant period of his life in which he discovered both a musical inspiration and a mental diagnosis that would change his life forever.

Fairyland Codex songs have been germinating since 2020, and the result is an album crackling with creative energy. The latest TFS record takes the listener on a journey through noise rock shredders, emotional ballads, and disco-inspired dance numbers. 

If you're low on iron, the four piece have scraped enough of the industrial underbelly of their city to fix you right up. Brooklyn's Docents are a multifaceted beast of a unit. The quartet's freewheeling approach to noise evokes controlled chaos and multiple shades of dread and decay.

Giliann Karon in conversation with Will Anderson of Hotline TNT about relentless touring, their new album Raspberry Moon, and more.

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.

Jellywish is a zenith achievement for Florist, released at a time when so little makes sense. Emily Sprague staying true to her brand of carefully considered, raw and open-hearted folk-pop for over a decade isn’t just impressive; it’s masterful.

Whether it's proudly discussing their hometown Chicago scene, the beauty of early Ramones production, or just talking about the bands they love, Lifeguard’s clear DIY ethos isn't just an aesthetic. It’s a creed the band lives by.

Perennial know their way around both a song and an experiment, and Perennial ‘65 find them melding the two approaches. The band knows a great song isn’t just the composition, or the chemistry, or the performance, but the synthesis of all parts.

Two years out from their 2023 debut, 21-year-old Sofia Jensen has slipped into a cozy niche on Lost & Found. Their profundity comes from keeping it simple—Jensen puts into words the feelings that feel undefinable. 

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.

The Cure’s most enduring feature-turned-strength over the years has been their uncompromising streak. The biggest difference between Songs of a Lost World and the rest of the Cure’s 21st century albums is a renewed sense of focus and an awareness of their strengths.