Feller are a new band comprised of some familiar faces, namely Pete Willson (Cafe Racer) and Ethan Toenjes (Old Coke). Set to release their debut EP, Universal Miracle Worker, on May 28th via Angel Tapes, the duo’s sound relies on something bigger than it’s skeletal make-up. There’s a bit of “post everything” at play here.

“Post-punk’s latest poster boys” ask Where’s My Utopia? on their newest album, a tongue-in-cheek, sarcastic, and groovy record. They create a very dynamic and lighthearted kind of sound, which shows how much they’ve grown since The Overlord. Listening to this album is immersive and feels transcendent, like entering a vivid dreamscape.

The Pilgrim, Their God, and The King of My Decrepit Mountain is a fantastically listenable record whose somewhat cryptic narrative never distracts from the truly great songs and detailed arrangements, and instead only increases the intriguing nature of it all. It's both digestible and obtuse, and in that contradiction the album finds its magic.

No one song on the record sounds much like the others, and as her role in the ensemble shifts from song to song, Rosali's voice and vantage point shifts, too. Rather than being an inconsistency, this is a unique, characteristic strength of Rosali's artistry. With Bite Down, she becomes multitudinous.

David DiAngelis is the artistic stamina behind the Brooklyn-based bedroom project, Helenor. His sophomore record, A public place, has become an embodiment of his last few years of transition. He spoke with Post-Trash’s Shea Roney about the movement in his life and the changes he made in the name of betterment.  

Returning with her sophomore album, One Million Love Songs, Viscius is now boldly taking on another one of the most complicated components of being human; love. Recorded in Asheville with production help from Alex Farrar, the album finds Bnny in confident forward motion as she learns to embrace everything that love throws at her.

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.

Wrapped in Cellophane is the debut from Atlanta quartet Vessel who traffic in post-punk with some unexpectedly exotic flourishes and sparse bobbing hooks punctuated by Alex Tuisku's lyrics. The band’s sound is full of space, led by remarkably flexible rhythms and an unstoppable ability to find the ever shifting groove.

Fully Beat finds the melody-penchant quartet digging further into some of the classic shoegaze sounds and textures they explored so successfully on 2022’s Windowpane EP. Today the band is sharing “Beat,” a shimmering and subtle pop number that gives a great hint of what to expect when Fully Beat is released on May 24th. 

After a five-year gap, the American rock band from Walla Walla arrives with a new studio album, Live Laugh Love. Recorded in three different sessions over a couple of years, the album marks the first time all four members sing, and they enjoy every second of it despite the ambivalent emotions they sing about.

The record displays feelings some would describe as bitter towards growing up, however they’re portrayed shamelessly, which also translates into immense emotional growth. Not all people engage in confronting uncomfortable emotions, but Pouty does just that within her album Forgot About Me.

With a weekend tour kicking off on Saturday, Dover, New Hampshire’s Tiny Wine are back at it. The duo of Chri Milton and Vertro Ubretl return four years after the release of the Archer EP with new single “Replace It,” a humming piece of lo-fi indie rock about hastily filling voids that aren’t ready to be filled.

While her previous releases showcased her arresting voice and undeniable spirit, they feel reserved in comparison to the new record. LATE SLAP is teeming with life, in all its joy, heaviness, and whimsy. It’s teeming with music: beautiful, uncanny layers of voice, a menagerie of synth tones, guitar jangles, tasteful strings and enthralling melodies.

When Marnie Stern took a hiatus, after being lauded as an upcoming guitar hero, the question on the tip of everyone’s tongues was “Where’s Marnie?” In conversation, she walks me through the pillars of her performance – what has stuck throughout this past decade, and what makes her uniquely herself.

When you take the album as a whole, Sam Evian’s Plunge can fit both within those sometimes tritely constructed categories of “classic” and “modern” rock. Well, maybe in the sense that you cannot really define its timeline. All for the right reasons.

The fourth song of the record, “Behave,” featuring Lonna Kelley of Giant Sand, is accompanied by a music video by Phoenix-based visual artist Kenaim. The videos offer a montage of beautiful, familiar scenes that quickly evolve and morph into one another effortlessly.

Adrianne Lenker is one of contemporary American folk music’s poets in residence. Between her song writing in Big Thief and her solo project, she manages to create worlds that feel so familiar, but then intertwine them with transcendentalist romanticism, rendering these views slightly more esoteric and impalpable.

Eighteen Hundred and Froze to Death are back at it again with Thirds, their new record, due out June 22nd. Written over what could be described as a strange few years for the world, the band’s corrosive structures are propulsive and delightfully off-kilter, but fully realized, the push and pull working in favor of their melodic core.

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.

Mulva have released their debut album, Bitter Form, in which they seem both newly-transformed and yet more familiar than ever. It's just as startling and compelling of a new experience as you’d ultimately desire. It's about accessibility to themselves and to one another, being free to find a way to pull back or push forward.

On their latest split, three tentpole bands of the scene and its adjacent communities - Deaf Club, The HIRS Collective, and Fuck Money - unify their sounds for a blisteringly fast and powerful split EP that wholly overdelivers in its incredibly brief runtime. 

Sweeping Promises’ powerful piercing vocals, grungy guitar, and oddly hypnotizing synth lines combine with the post-punk atmosphere to make this band unforgettable, leaving the listener with a lasting impression. The album deals with depressing themes, different forms of distress, yet the duo’s sound remains bright .

Naked Era, the sophomore album of Chicago indie rock artist Chaepter, is a shadowy and pulsing collection of songs. His debut for the Boston-based Candlepin Records is fraught with emotion and prairie-sized dread. Songs loom over you, closing in around you as you listen like a dense fog or hundred-pound weighted blanket of sound.

Vessel’s music is dynamic, bouncing through disjointed skronk one moment and intertwined in dense melodies the next. Led by Alex Tuisku, who handles vocals and drums, it makes sense that the rhythms and hooks are given equal focus, bright spots with a locked-in pulse that allows the rest of the band to flood the mix with any and all textures.

Ask Christina Puerto, Mulva’s singer and principal songwriter, and she’ll tell you there’s still power in the DIY ethos. Mulva’s debut album Bitter Form, just released via Sad Cactus, is testament to that power, a bombastic work of emotional resonance. Post-Trash spoke with Puerto about her unlikely musical journey and the people who helped her along the way.

Characteristically, The Collective is full of distortion albeit in a manner different from Gordon’s solo debut. The album is fully alive to our present moment. The hip-hop elements – the trap percussion, the heavy bass lines, the thick production quality – establish this fixation, proving once more that Gordon remains as forward thinking as ever.

As they have come to release their third EP, Lesson, Hiding Places reflects on the teetering compromises of adulthood, showing a young band embracing their imaginative and collaborative spirit to confront the duality of getting older.

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.

Total Sham dropped their self-titled label debut on Under the Gun Records. It's antagonistic in the extreme; with the kind of hostility you'd expect from an exasperated python, darting around violently with no care for its surroundings. In much the same vein as their hardcore predecessors, they run on maximum amplitude.

On GABBY SWORD, Gabby Smith and friends explore her somewhat recent realization of her queer identity, going through life changes and transitions, and the intimate details and raw moments that come from those experiences.