Out to Pasture is a fuzzy and wild trip down some exciting avenues, and Arbor Labor Union add some new tricks to their formula that add quite a bit of delight for the audience.

Following their scrappy debut EP and two years touring across the US, EU, and Japan, the Nits have amplified the charm and crisped up production. Greetings From is rife with hits and slam-danceable classics.

While the Ithaca based post-hardcore band might have spent five years between their previous two albums, the reinvigoration sparked by 2024’s Thirds continues to roar like an avalanche on Earthquake Lights, an album is awash in surging guitar riffs, extra thick melodies, and drums that beat our senses to a pulp.

Since forming in 2013 from the shards of his previous band Trapped Under Ice, Angel Du$t has not only evolved, but revolved around Justice Tripp. By turning up the heat, Angel Du$t set a high bar that no one can touch. 

Today, Post-Trash is thrilled to premiere the lead single from Webb Chapel’s forthcoming Vernon Manner. On an album that swings you up and down like a drugged-out pendulum, the solitude of “Hail Mary” only accentuates Webb Chapel’s knack for unpredictability.

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.

“Dropped Down The Well” has become a staple of MEMORIALS’ live show, and it’s easy to see why. Built on a ripping rhythm with gorgeously insistent bass and a spring-loaded drum beat, the song is buzzing with propulsive energy and a wildly engaging sense of melody that has become synonymous with Verity Susman’s songwriting.

Redux is not a redo of The Greatest. It’s a three-track EP on which Marshall and a cadre of friends who toured with her in support of The Greatest way back when. Cat Power is the real deal, and she’s achieved what every artist aspires to: letting their work speak for itself.

On Detroit Institute of Art Volume 1, DJ Dremond and his collaborators deliver their stories with sincerity, crafting an audible depiction of community and revival. The record reminds listeners that Detroit’s revival isn’t the result of new zoning projects or job growth, but lives most vividly in the art created by those who never left.

Post-Trash’s David Williams chats with Rae Haas of MX LONELY about defeating your monsters, running through graveyards, being haunted by Mr. Lonely, and their favorite karaoke song. 

Occasionally Wretched Blessing’s path leads to unexpected covers, as the pair followed up their debut EP with a set of Deftones covers. They’re back with another cover and this one feels a bit more left field, taking on Calvin Harris and Disciple’s mega pop hit "How Deep Is Your Love”.

The haunting, doom-laden Ghost Ship finds erstwhile Codeine drummer Chris Brokaw in fine form. It is heartily recommended to all fans of doom-laden, brooding atmosphere, who perhaps will enjoy listening to it at night, in the wilderness, or - best of all - at sea

Before the band’s upcoming tour supporting Ratboys, Post-Trash’s Sam Cohen chats with Florry’s Francie Mendosch about Kurt Vile, the Philly music scene, and why Alex Chilton is the greatest rock n’ roll star.

Ratboys know how to explore complex themes and, even more importantly, they’ve figured out how to make them go down easy with swingin’ melodies. Singin’ to an Empty Chair is an album riddled with intensely nuanced emotions, strong images, and a nod towards a lovely future. 

Keta Ester - aka Keegan Graziane - chats with Post-Trash’s Heather Williams about their musical beginnings, recording separate from Bruiser and Bicycle, and the making of their first full length LP Love Apple.

On Bloody Head’s new record Bend Down and Kiss the Ground, the group articulates what could be called the “church or reason” of contemporary time. Like their many punk and hardcore-leaning forebearers, Bloody Head’s message is against the worship of the State or perceived realities.

Cellist Tomeka Reid is an irreplaceable staples in the modern free jazz landscape, and her most recent outing, continues Reid’s ascension in fine style. Beneath the dance! skip! hop!’s playfully accessible swinging frame beats is the heart of an avant-gardist at the peak of her powers. 

Julianna Barwick and Mary Lattimore’sTragic Magic is not only a fascinating product of electro-acoustic composition, but also a story of friendly collaboration and the fruits that can grow from institutional support of open-minded experimentation.

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.

Montreal art-punk quintet La Sécurité are back and they’ve never sounded better than they do on “Bingo,” a song built on imaginative spontaneity. The song is rippling with serrated mutant disco exuberance that takes inspiration from the mundane and quickly pulls the rug out.

On Bungee Jumpers’ Not Today… it feels like we’re with them in the “studio,” watching every hacky joke penned, semi-sentimental moment built up, and hackneyed idea embraced with gusto. It’s a gimmick and it’s so not, and they ride the line perfectly across Not Today… to comment, critique, engage, and generally titillate listeners. 

The familiarity that surrounds Constant Humming is a blessing and a curse. For an album that was self-recorded in an unfinished basement, it packs a surprising punch. Good Sleepy might not shake free of their past, but Constant Humming will stick in your rotation for the foreseeable future.  

“stars implode” opens with sustained synths, keys, and a gluey rhythm highlighted by gobbinjr’s bass progression. Just as you’re sinking into the song, things shift around, elements dropping out as others arise, the entire framework remaining in tact but the details fade and reappear in new shapes.

Post-Trash’s Benji Heywood chats with Manchester’s Mandy, Indiana about despair, hope, healing, touring North America, and the arduous process of making their incredible new record URGH.

Nearly three years after the release of their exceptional debut EP, the band are set to return with Graceful, their first full length. Due out on May 15th via the team of Perennial and K Records, the album is a brilliant display of up-beat exuberance, power-pop resonance, and towering hooks.

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.

Sydney Salk’s “Various Artists” returns to round up some of summer 2025’s best compilations and the causes they support, with choice picks from Silicone Prairie, Progressive Knife, Pin-Up Girls, Zulo, and Buzz Kull.

Editrix’s The Big E is the perfect soundtrack to hurrying through a city. The three-piece, comprised of vocalist/guitarist Wendy Eisenberg, bassist Steve Cameron, and drummer Josh Daniel, build urgent, propulsive music with virtuosic lead guitar work and full-send riffage.

Yoo-Hoo is an album that masquerades as being the opposite of urgent. Hiding behind languid dips into bluesy surf chill and folky flute, it is in fact incredibly timely and temporal. On a 0° day in the heart of a frigid Chicago winter, some tropical, existential lucidity is exactly what is needed.

The Big Them are not fucking around with their physical, volatile, and heavy-ass approach to acidic punk. The band of seasoned noise veterans possess an inherent sense of melodic understanding and instrumental control. Today, Post-Trash is thrilled to premiere the lead single “Yellow” from The Big Them’s upcoming album Four Colours.