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.

Post-Trash’s Khagan Aslanov chats with Martin Kanja aka Lord Spikeheart, about learning to scream and sing, the African metal scene, and his great-grandmother’s legacy, which is the inspiration for his debut LP Adept.

Teenage Tom Petties aren’t megastars - they probably never will be, and it’s doubtful any of them would ever want to be. But it can still be fun to pretend, and Rally The Tropes is exactly that - a brilliantly crafted and wonderfully executed exercise in playing pretend.

After the release of his debut album in 2018, Jo Passed (aka Jo Hirabayashi) spent a couple of years recovering from burnout that made him put his music project on the wayside. Back with the help of new collaborators, Jo Passed wades through some of his darkest years with exuberant textures and distinctly tuneful compositions.

Rather than merely paying tribute to their influences, Xiu Xiu has turned them inside out. Xiu Mutha Fuckin Xiu is a whirling jukebox of the various disparate songs that fed into the band, now coming out as a grand testament to everything that makes them such an important act.

Night Moth’s new single and upcoming record is exactly what you think might happen when you put members of Clifford and Squitch together, and we’re psyched to premiere “Rumination Song” today at Post-Trash.

Bad Dream Songs is for the angsty twenty-something spinning their parents’ dusty copies of Unknown Pleasuresand In the Flat Field. Perhaps Cemento will deservedly provide the backing tracks for the imminent gothic renaissance.

Post-Trash’s Giliann Karon sits with Nick and Shane Sullivan of Joyer to chat conflict within kinship, and working with Slow Pulp’s Henry Stoehr on their second Julia’s War release, On the Other End of the Line…

Dreyer enter a world that’s bright and twangy on lead single “Three Sisters Garden,” a song that’s bristling with immediate charm and loose melodic jangle. It’s part alt-country and part power-pop with a touch of Modest Mouse itchiness, but there’s an undeniable splendor to it all.

Leather.head’s cathartic blend of emo, prog, scramz, and jazz recounts modern woes with a visceral approach. Rather than sounding like the end of the world, Mud Again is the reaction to its imminent arrival.

Benji Heywood chats with Peter Katz of Peaer about classical music, joy at the end of the world, and the band’s excellent new record Doppelgänger, out now on Danger Collective.

The Boston-based Tiberius add their own flair to alt country on Troubadour, blending stirring emo swells with the lush, atmospheric hums of folk and country that stretch out like winding psychedelic passages on the prairie horizon. 

Post-Trash’s Kurt Orzeck chats with Eugene S. Robinson, who reveals the reasoning behind his decision to “self-deport” from America, his new project Buñuel, and why he decided now was the right time to reissue the 1984 LP, Muru Muru, by his early band Whipping Boy.

Lawn returns with their third LP—God Made the Highway—their best since 2020's Johnny and their first on Exploding In Sound Records. The band eclectically pivots between nostalgic jangle-pop and mordant post-punk, as the duo-powered Lawn ensure each song on God Made the Highway has its own sound and identity.

In the run-up to the release of their latest – the gargantuan-sounding Ferrum Sidereum - Post-Trash sat down with Massimo Pupillo to talk about the fixation on spiritual and humanistic ritual Zu’s latest delves into.

Miracle Music is another stunning masterwork from one of the greatest bands of the 21st century. As a whole, Miracle Music brings to mind Burning Off Impurities and Take Refuge In Clean Living - perhaps the two most cryptic Grails masterpieces.

With the shoegaze revival presumably hitting its zenith, the time couldn’t be more ripe for the commemorative release of The Jesus and Mary Chain’s debut album, Psychocandy. Forty years later, authoritative music outlets have granted it their top rating, proving that it can often be clumsy to judge an album on its merits the moment it initially comes out.

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.

Obits were a band that burned brightly and relatively fast, leaving audiences with moments of emotional and personal release. L.E.G.I.T was initially released in Japan in 2014 to correspond with Obits’ Asia tour, but now the compilation of their 7’ singles and compilation tracks is getting a wider, very welcomed release.

Secret Love is like a worn jacket, slipping on seamlessly and patched up to perfection. Dry Cleaning’s third album is confident as the band itself and steeped in identity. Secret Love is like a worn jacket, slipping on seamlessly and patched up to perfection.

Post-Trash’s Khagan Aslanov walks us through the finest seven moments in Lee Ranaldo’s massive catalogue, highlighting the virtuoso guitarist’s finest pieces and musical contributions to free jazz, punk, and avant garde.

Holo Boy represents an artist coming into his own. After over a decade of releasing music as This is Lorelei, Amos has achieved critical success. With this new success, Amos can look back on the first decade of his career and refine it to match up with his current success. 

Today, Post-Trash is thrilled to premiere “I Watch You,” a brand-spankin’ new Izzy True cut recorded LIVE in Rhode Island by Bradford Krieger at Big Nice Studio. The song is about AI, and especially apropos as we witness the slop fill and distort the cracks in the fabric of our reality.

VoidCeremony’s Abditum achieved essential listening status for genre fans immediately upon its release less than a month ago. It’s almost tempting to not recommend Abditum, because if you hear progressive blackened death metal this good, you’ll be spoiled for life.

Snoozer have consistently experimented with their sound, which could be a reason Little Giants may be considered a staple album for all generations of indie sub-cultures. An airy ambiance is carried throughout the tracks by the EP's nostalgic synth, fuzzy guitar slides, and light-hearted take on the endless life changing cycles of good and bad.  

Comprised of five tightly tensioned tracks, this collection cements Orcutt Shelley Miller as architects of sonic interplay and metallic amalgamation. No lyrics necessary — this is avant-rock musical storytelling from three living legends (with the beards to prove it). 

Buyer Beware is an infernal collection of gloriously cacophonous romps; it’s arguably The Men’s best album since 2016’s Devil Music. This is a visceral and dangerous LP—in other words, it’s real rock and roll. 

We're happy to present "Post-Trash's Staff Picks: The Best of 2025" as voted by the site’s wonderful contributors (including their individual lists). With 15 of our writers submitting their votes, we had 234 different records nominated and only the top record received a collected score of sixty or higher.

From its first electric riff, Hélène Barbier’s Panorama grabs your shoulders by its proverbial hands and shakes you into a new world. Like waking up from a long and restful sleep to see the bright sun of a new day, Panorama is off-kilter in a way that finds us balanced.

Written during these years and beyond, Port Ross’s sprawling, flexible debut relies on instruments and stories from his Salt Lake City upbringing and 2023 move to Brooklyn. Nighttime at Gardner Hall grapples with family conflict, relationship trauma, and that financial struggles that bubble up as you set sail for adulthood.