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.

Asher White’s music is tracked on canvas with broad strokes, layers, accents, and delightful blends of influence and genre. 8 Tips is remarkably cohesive and hints at the artist’s genre-less future pop. Post-Trash spoke with Asher White about the influence of the Chicago noise scene, a teenage acid trip, concurrent apocalypses, and her Joyful Noise debut. 

Pharaoh Overlord’s Louhi consists of two 19-minute-plus songs that lumber, stomp, and trudge along from start to finish. This is one of those rare records that makes you reflect, “How did someone come up with the idea to make music like this?”

An updated version of the old, weird America courses through Edith Frost’s catalogue, replete with lost souls, mislaid plans, revenge fantasies, and the overlooked fates of people holding on for one last chance at redemption. Despite her absence, Frost hasn’t lost her touch.

Today, Post-Trash is thrilled to premiere Why Bother?’s “Indoctrination.” On their latest, the Mason City punk outfit offer answers in the mystery and mystery in the answers. Cling to reality and take back your very own astral projection with Why Bother?

This reissue is a fascinating documentation of the early years of Screaming Trees, showing a ferocity and menace the band would later perfect. The new unreleased tracks are a treasure trove, as some truly eclipse those that made it on the original album.

In their fourth decade of recording, Deftones are still able to sit together and put something like Private Music to tape, something so full of cinematic abandon and violent verve, coarse and beautiful, and as always, at odds with itself in all the right ways.

James K’s Friend beautifully achieves a repurposing and rebuilding of the past through new machinery. But instead of merely recreating the affect of these sounds, K has built something new out of them.

Rather than simply recreating a classic sound, Jeanines reshape it into miniature bursts of indie pop – ranging from 1:10 to 2:15 minutes – that each carve out their own character, colored by melancholy lyrics.

Today, Post-Trash is thrilled to premiere “Lowballer,” from Somerville-based band Otis Shanty. “Lowballer” hides its dissolution behind its sound, but to Otis Shanty, it’s about “selling dreams in a buyer’s market.”

Paddy Reagan and co. have emerged from their years-long brooding with a new batch of slacker, country-tinged rock songs that feels like a lively, warm summer night. I’m Sad as Hell and I’m Not Going to Fake It Anymore might be the most appropriately titled record to come in the year 2025.

The Edinburgh/Glasgow-based project has teamed up with Upset the Rhythm for an album that is less new wave and more rocking than last year’s model, yet still with the same levels of zaniness. This record is an all-you-can-hear feast of frizzled and frazzled erratic guitar-based slacker rock madness.

With this record, Mclusky suggest that writing songs isn’t about inventing a narrative but writing the best songs possible. The World Is Still Here and So Are We is a monument to constant process, outdoing others because you’re trying to out do yourself, but also a document of a fully locked in Mclusky – no second guessing, eager to jump the gun, and too good to miss.

Even though Guck’s music may be ugly, it’s also undeniable. Forgoing the sludge and oppressive misery of the recent noise rock revival, Guck have crafted a flaming slab of mania, an album that may dance with the rhythms of a broken police siren and screams like a doomsday preacher.

Post-Trash’s Rohan Press chats with Chicago-based songwriter Case Oats about growth and self discovery, missing friends, and her Merge Records debut Last Missouri Exit.

Throughout their self-titled debut, Razorface seems determined to push through with a divisive hole in somebody’s coffin. The flavor of this record is violence, whether it’s pushed outward or in the direction of oneself.

Earlier this year Nape Neck released a self-titled collection, pairing together both their first full length and the Look Alive EP. It’s a wonderful place to start for anyone looking for a good rattling, and thankfully, they’re back for more with new album The Shallowest End, due out on September 19th.

Post-Trash’s John Glab covers Washer and Ovlov’s blistering, highly anticipated San Francisco sets on Ovlov’s first West Coast tour.

Post Trash’s Giliann Karon chats with Samira Winter about perpetual tour, inspiration in collaboration, and Adult Romantix, her fifth album as Winter and first on new label home Winspear.

On a second album of bedroom hypnagogia, Nourished by Time’s Marcus Brown channels the occult and the psychedelic for his most expansive, ambitious undertaking yet in the form of The Passionate Ones.

Jobber to the Stars tops the New York band’s very impressive entrance that was the Hell In a Cell EP, as they show off their deep repertoire of moves that will have you gasping for air. Jobber have assembled a record that is fresh and memorable, full of energy and passion that can’t help but burst out of the speakers.

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.

Bay Area band Slake have carved out a wry sub-sub-subgenre called "lesbian doom folk.” Their debut Let’s Get Married is a controlled experiment. Marriage is often fleeting, but records like this diamond are forever. Slake’s Let’s Get Married firmly belongs in the latter category.

RNIE is Lamont Brown, a Philly-based artist and music maker. His sophomore LP FULL NEPTUNE is inspired by all things late night Y2K — PS2, Toonami, and a healthy dose of breakbeat. Today, Post-Trash is excited to premiere the video for “20K,” which Brown directed himself.

Of the many guises that Yo La Tengo have acquired over the course of their four-decade-plus career, their occasional role as soundtrack composers has been a natural assignment. Like the film, Old Joy is a stripped down, minimalist affair. Most importantly, it moves the narrative along in a way that images alone cannot do.

Post-Trash’s Kurt Orzeck chats with Chicago’s Stress Positions about the band’s beginnings, their motivations, and their excellent new EP Human Zoo.

Time Thief is the new project from Zoe Wyner (halfsour) and James Walsh (Dump Him) out of Providence, RI and we are proud to premiere the video for their latest single “A Brief History of Ordinary Let Downs” off their upcoming self titled debut EP

Five years after the release of their self-titled LP, Teethe return with an expansively contained followup of profoundly melancholic southern slowcore. Magic of the Sale is a fleeting feeling that you can only hope to hang onto.

Understanding’s Shmutz-directed video for “Flesh is Word” captures the Toronto four-piece in reflections, on a jungle gym, and along the shore. It’s an easy, breezy, keys-forward number, and the lead single from the band’s forthcoming debut the joy of living.

Bleary Eyed’s third full-length album, Easy, is here. Released July 25th on Born Losers Records, the band has pulled the sound of shoegaze even closer. Easy dawns a broad range of intergalactic sounds, bending, stretching, and exploring the proverbial space dust of the far-reaching universe.