Greg Freeman’s music has always felt original, the synthesis of genre, melding of musical minds. This record has hit a high water mark of his best musical qualities, bridging the gap between folk, punk, and Americana, with “ramshackle” splattered all over like a Pollack.

Complete B Sides is a well-justified act of self-canonization. Call it the Jurassic period of indie rock or what have you, but Complete B Sides recalls a different time when the Pixies briefly ruled like no other band, before the meteorite of corporate alternative rock destroyed that era.

Cor de Lux has never shown to be anything but itself. With Year of the Horse, the North Carolina based four-piece took their post-punk and shoegaze sound and gave it a total makeover. The record shows the band's strengths sonically, a beautiful progression from their earlier projects. 

With no advance single to speak of the record shines as a unit, with every songwriter firing on all cylinders. The group sound more dynamic this time around, with a fuller sound owing to the magic ears of recording engineer and label owner Al MacFarlane.

Believe it or not, with the deluxe edition of 12 Golden Country Hits being thirty-six songs long, there were yet more tracks intended to be included on the reissued record that didn’t make the cut. Now we have Golden Wastes, four more previously unheard tunes. 

Secret to Spare is the debut full length from Jawdropped, a power-pop quartet that relentlessly surges and occasionally bounces their way forward amid emotional songwriting. Many of the tracks highlight coming-of-age moments while looking forward to the future with skewed optimism. 

With a new album seemingly imminent, the duo of Wes Kaplan (guitar, vocals) and Julian Fader (drums) return with “Miranda,” a propulsive song that opens with a brash onslaught of drums, knotted chord progressions, and a general kaleidoscopic chaos to their noise pop sound.

With a cavalcade of instrumentation ranging from saxes to synths to violins, violas, cellos and straight samples, alongside the traditional framework of a modern 'band' - drums, bass, guitar - and amazing vocals, it is utterly unique and alive; boisterous but mindful; concise yet exuberant.

Scour Order is another installment in a long body of work defined by virtuosic instrumentality, shrieks, and growls, but it stands on its own within their vast discography. It’s still a riff-labyrinth cemented on trembling ground but there’s a steadiness that gives the sense that the band wants the edifices they’re building to stand tall.

The dream pop sound that was once pigeonholed as Stereolab worship has blossomed into something much more intentional. Guitar tones have more depth; drum machines hit harder; the overall instrumentation is at once focused and bursting at the seams with ideas.

On In Yun, Barker masterfully plays with the tension of an album that is about love, dedicated in part to lovers, named after a Korean concept about an indelible connection between people, and at the same time is written, recorded, mixed and performed by a lone individual.

Two minutes. That’s all the time Totalitär needs to blow your face smooth off. The Swedish d-beat legends return nearly twenty years later with a self-titled record, picking up right where they left off  with sheer force.

Twenty-five years ago, Unwound left behind Leaves Turn Inside You, a defining record of experimental rock and post-rock, one that still echoes through the genres today, newly remastered and reissued once more by Numero Group.

The Indianapolis five-piece stick to the slow and steady path that's been laid out before them, but the band's third album carries the torch for American death-doom to new emotional peaks.

Lily Seabird spoke about her album being a right place, right time scenario. A perfect, dark, yearning collision of moments aligning spawned a record that really takes root and grows inside you with every listen. It gives voice to the brooding thoughts, the modern angst, and the ever-painful feelings of loss.

Eleven years after their debut, the trio has once again reunited to cultivate the overall spirit of their sophomore album, Linda’s Head. A delightful surprise, their comeback encapsulates a feeling of reconnecting with friends from the past and seeing where they have ended up. 

Punk doesn’t need to sound perfect. There is enough perfect sounding music out there—everything cleaned up, polished, and scrubbed down until there is nothing dangerous left. Give Rat Cage the opposite. Give the world something loud, messy, pissed off, and alive.

Welcome to FUZZY MEADOWS, where we recap the past week (or several weeks) in music. We're sharing our favorite releases in the form of albums, singles, and music videos along with the "extended listening" section of new and notable releases worth your attention.

The album functions as a beautifully executed piece of sonic architecture, meticulously re-sequenced down to fifteen tracks, which are given the chance to breathe completely independently from its celluloid origins.

Australian singer-songwriter Julia Jacklin coats her new project, The Gem, with new and familiar lush tones. Her ten track release stretches itself thin to become translucent; enough for listeners to make out Jacklin’s experiences behind her soul-baring lyrics.

Lightspheres on Their Way suggests a certain heightened wisdom. The realities faced on the record are yet the revelations of a quarter life crisis, a series of solemn reflections from someone with a lot left to learn.

Double Infinity, last year’s Big Thief record, was a project of transformation, not only in its subject matter across the songs as Adrianne Lenker explores the process of aging, but also in the sonic language that was forming underneath.

YHWH Nailgun’s second release, Magazine, sinks audiences back into familiar unsettling territory. If you enjoyed the extensive percussion, dizzying synths, and haunting vocal howls of their debut, you’ll be happy to find that Magazine is just as bewildering.

2026 brings the return of the Pixies’ iconic Bossanova album, now fine-tuned and polished with a wonderful remaster. An alt-rock band so profound that even Kurt Cobain admitted to trying to rip them off, the Pixies excel in their genre.

While “Radio Station” introduced the record with a dirge of art pop bliss amid disorienting acoustics, “Sleep” peels things back, opting for a change in landscape. Taking a reflective approach to the writing, Elena Tonra is reliving time in passing moments, captured in both the lyrics and the song’s composition.

Amba started their musical journey as an avant-garde tenor sax and flute player. Given that, the fact that they have (for now, anyway), reinvented themselves as an Appalachian folk/indie rock artist on their new album seems little short of remarkable.

With five releases, a name change, and more than a decade of touring under their belts, the Irish group have seen a thing or two. The once-youthful quartet now carry themselves with some grizzled authority with which to give said advice, or at least morbidly play devil's advocate. 

DOOMED!, the 45 year-old rapper’s collab effort with producer Kenny Segal, is as clever as ever. Hooks allegorize Street Fighter combos, allusions to Austrian physicists, and sardonic interpolations of Instagram lingo. What sets the record apart, however, is the painful intimacy with which that same wittiness is employed.

After hitting the jackpot on their first try, the Indianapolis indie rockers beat the odds of a sophomore slump by doubling down.

Havana Syndrome reside in depravity, spewing their damaged punk from the gutters of Buffalo with a penchant for frantic filth and feral tenacity. The time has come for their self-titled full length debut, a record determined to lay waist to an already wasted future.