Nashville’s Styrofoam Winos have been a part of some of the biggest alt-country comeups in the last five years. Their new album Any River is an infectious, intimate slate of tracks blending folk-country tradition and the modernity of collective avant garde songwriting technique. 

Benji Heywood chats with Zoh Amba on the eve of their Matador debut to talk about Kingsport, TN, the struggle to make the album, and finding the people who have your back no matter what. 

One could argue that Souled American’s Sanctions is the most unfashionable album ever released. It’s their first album in thirty years, and the Scott Tuma-less band has made an album that’s weird, spectral, and haunted, with none of the concessions to trends that usually mar reunion albums.

Consensus Madness are back at it with “Superfund,” taking aim at the government’s general lack of concern for our environment. The song stampedes forward on an overdriven riff and a brash rhythm, calling out the devious attempts to turn contaminated areas into new and hip neighborhoods through endless funding.

Giliann Karon premieres Trophy Wife’s third single from their upcoming full length Pathetic, out 7/10 via AWOL.

Post-Trash’s Kurt Orzeck chats with June of 44’s Jeff Mueller to chat reuniting, playing overseas, side projects, nautical themes, and the relationship with one’s own work.

Moontype’s second full length I Let the Wind Push Down on Me is as emotionally charged as its predecessor. It plays like a document of McCarthy’s twenties, shaped by loneliness, self-reinvention, and addiction.

Beck Zegans has shown great depth and strength through her previous songwriting in Goo. Her solo debut Engraving of Armor highlights and accentuates that skill, as these songs travel down emotional paths filled with determination and warmth.

Named after a lyric from K Records labelmates Beat Happening, Touch Girl Apple Blossom are unafraid to revel in a raucous joy on their debut Graceful.

The cryptic, ethereal nightmares of Grouper were given new, haunted life via the hushed and chilling set performed by Squirrel Flower in early 2025 in Chicago. Live at the Top Note Theatre firmly establishes Ella Williams as Grouper’s natural heir.

Ava Brennan is one of the best guitarists in Chicago. Today we’re thrilled to premiere the heady and heavy “Event Horizon,” Brennan’s latest since last summer’s “Home.”

Western Mass legends Bucket return with some new EPs and a new song out today.

Post-Trash’s Charlie Bailey sits down with Chad VanGaalen to talk about Calgary, the unique perspective of aging in the rapidly modernizing music scene, and how making art stays with you no matter what. 

Slippers’ pop style is exceedingly charming and full of bright sunshine, but these songs are full of bite and menace that work extremely well. It’s what makes Slippers 08 so compelling.

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.

Rusty Santos is an acclaimed and eclectic producer known for working with mid-aughts projects like Animal Collective, TV on the Radio, Beach House, DJ Rashad, and more. Psycho Horses is his latest LP, which he describes as his “antidote to sleepwalking.”

Youbet finds Nick Llobet asserting himself with bold physical soundscapes and a profound lyrical intensity. This record is the sound of a band that continues to grow in their ever-expanding and hypnotic musical universe.

Iceage’s first record in five years sees them at their tightest and poppiest. Sharp and melodic, For Love of Grace & Hereafter is the Copenhagen group’s most tender release yet.

On Almost Waking, Orcutt and Fratti’s practices converge spectacularly. Weaving abstract electric six-string work with rich acoustic bowing, this eight-track collection transforms adversarial, jagged improvisation into sheer elegant instinct.

Just in time for the next heatwave, Chicago’s Sprite return with Spriite, their exceptionally titled second EP. Recorded at Radon Ranch with engineering from Ben Grigg), the quartet tear through four bent and detached songs, bringing a hazy mix of shoegaze, slacker pop, and alternative rock muscle.

Lupo Città’s INVERNO is true “band” music — not a singer/songwriter-led team, but collectively built, with the sum being multiplied by the powers of its individual parts. 

The Chicago project’s jammy cluster of interesting rock music is intensely charming and nonnegotiably on the jukebox all night long. Red Hot Photo Committee contains punk’s out-of-fucks heart with a rock n’ roll soul.

With their latest, Bullseye have slowly, deliberately shown us that rehashing the past means something if you're fearless, fun, and dedicated to the things that always work.

Oddfellows played some local shows and released one EP before moving on to form some of the more important power-pop and punk bands of their era - The Marked Men, Radioactivity, Mind Spiders, and The Reds, among others, but the time has come to return to where it all began.

With their first LP How My Own Voice Sounds, New York-based duo Sub*T offer an introspective journey through the process of understanding oneself.

Friko’s latest record is a searing reflection on the never-ending nature of life’s mysteries. The Chicago band finds hope in constant motion, fighting through uncertainty to chase contentment while battling the ambiguous nature of the unknown. 

It would seem Josaleigh Pollett’s musical evolution continues on If I Let It Quiet, a fantastic record that embraces gorgeous art pop (leaning on the pop end to fantastic results) and soft focus synth experimentation. Due out on July 24th via Audio Antihero, the avant-pop album is deeply focused.

OTOBO’s doomer-prog ticks like a time bomb, and “iOpen” sets the tone for the Albany three-piece’s white-hot motorik punk LP Inside Machines. Today, we’re thrilled to premiere the ad-spliced, nature-prefaced video for “iOpen.”

Les Claypool is one of the most creative eccentrics of the modern era, and his latest album under the Claypool Lennon Delirium moniker does much to cement that status. It’s arguably the spaciest album of his career, and perhaps the best of his collaborations with Sean Ono Lennon.