Mal Devisa’s Palimpsesa— her first project since her debut Kiid— is a collection of songs written between 2015 and 2025 chronicling Deja Carr’s musical output at all ages and stages of expression. It’s a tidal wave of memory, a trip through a musical genius’s mind, and a true reflection of who Mal Devisa has become.

Ex Agent are a remarkable group because their influences remain influences. New Assumptions exists somewhere between the slow drones of Louisville post-rock, the free-form jazz noise of no-wave, and the impeccable art punk of late-70s England.

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”.

The record expands upon the project’s industrial experimentation, lurking deep in atmospheric dread and jarring no wave, everything given its own space to settle. There’s a refined patience to the album. Sure, it’s still noisy, avant-garde, and penetrating, but it does all that with an emphasis on nuance.

billy woods’ GOLLIWOG is an enraged and exhausted, atmospheric masterpiece that fearlessly plunges into discomfort and abuse; skin-toned, gender-based, domestic, federal, colonial, and personal.

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.

Besta Quadrada’s first full length is a self-described “bratty hardcore” record, jam packed with caustic rippers and bouncy rhythms. Much like Rotary Club or Judy And The Jerks, the band tear through each buzzing song with a surge of personality, the songwriting equal parts rippling anxiety, sass, and sarcasm.

Pygmy Lush’s TOTEM is an unlikely feat in all regards. Rising from the ashes of cult favorite screamo band Pageninetynine, TOTEM evinces a thorough re-ignition of the hard-hitting styles which first put these musicians on the map. 

Portsmouth’s Dog Lips hardly believe in down-time. Since 2022, they’ve been ripping up the East Coast DIY circuit, reveling in their signature balance of mayhem and cool. Today Post-Trash is thrilled to premiere “Gush,” the incredibly catchy first helping of Danger Forward.

Absence has long defined Alan Sparhawk’s output. On With Trampled By Turtles, there’s something new and beautiful to be found in the space an absence leaves if you are willing to confront it.

Calendar Year is a psychedelic folk album that reflects on the dour times with beauty amid the difficulty. Jessica Risker and her band expand their atmospheric qualities, dropping further into cosmic acoustics and Broadcast influenced textural warmth with a gentle strength in each of the songs.

Debbie Dopamine have a wonderful knack for presenting honest and uncompromising songs that delve deep into poignant and complex thoughts and beliefs, examining them in a compassionately human manner that is a delight to behold.

Guck’s latest single, “GUBAR,” oozes and pulses, the repetition of the chord progression pounding away like a sledgehammer to pavement. While the riff is locked into a psych tinged dread, it gives room for both the drums and vocals to explore, embracing the opportunity with their own ruthless charms.

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 NYC-based, Sub Pop-signed group composed of the four-piece of Greta Kline, Alex Bailey, Katie Von Schleicher, and Hugo Stanley hit familiar strides with witty lyrics and wistful reflections on what it feels like to live and love. 

Macie Stewart’s When the Distance is Blue is a perfectly titled, surreal and expansive record. Her International Anthem debut is not a question or an answer ,but a murmuring thought, both perplexing and comforting.

Timeless World Forever by Graham Hunt draws on the timeline of alternative pop music composition, as his songs create a timeless sensation, reincarnating threads of energetic sounds from today's music, the 2010s, the 2000s, and the 1990s.

Mary Lattimore sculpts soundscapes that transmute the listener to a state that is as deeply disquieting as it is intensely curative. Post-Trash’s Khagan Aslanov sat down with the harpist at Sled Island Music Festival to chat about her beginnings, collaboration, and her love of The Cure.

With its wide scope, Milked’s new album Forgotten Pleasures demands to be heard in full, and while little can prepare you for certain tracks, they’re sharing the record’s first single, “Slow Pyre,” one of the album’s sonically unique moments - an art pop odyssey with shack shaking programmed beats.

PANIK FLOWER, on their sophomore effort Rearview, are unafraid to shift and change their approach, while still maintaining a compelling strength and drive that is in full bloom.

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.