The best compliment a young band can receive comes in the form of a query delivered with a tone of disbelief: “Is this really your first record?” Ossuary, with their searing Abhorrent Worship, deserve such a response—and I bestow them with it in my latest contribution to Post-Trash.
Toiling away at creating a style all their own for over a decade, the latest LP by Richmond, VA’s Keep exudes a sense of freedom in their doomsday shoegaze sound. Read my FLOOD review of Almost Static.
Singaporean indie rockers Subsonic Eye issue a jangly fifth record that proselytizes the beauty of the natural world, and provides hope with deliriously catchy tunes that channel ’90s groups like Superchunk and GBV. Read my FLOOD review.
Australian band King Gizzard & the Lizard Wizard exhibit a growing comfort performing with orchestra musicians on Phantom Island, resulting in a bolder, brighter, more engaging, and more direct album than its predecessor. Read my FLOOD review here.
Nearly a quarter-century after Thomas Fec (aka Tobacco) introduced his no-holds-barred, sensory-overload project Black Moth Super Rainbow, it’s still as zany, colorful, vibrant—and perhaps even vital—than ever. Read my Treble review.
Scowl’s pop-meets-hardcore sound truly jells on their sophomore outing, Are We All Angels, and it’s as smart as it is satisfying. Read my review as part of Treble‘s 40 Best Albums of 2025 So Far feature.
Read my take on Messa’s The Spin as part of Treble‘s 40 Best Albums of 2025 So Far feature. Hint: I like it.
Ironically, while Ty Segall seemingly crafted Possession after spending more time than usual in solitary refinement, so to speak, he ended up making arguably his most inviting, if not accessible, work to date. Read my Treble review.
Regaining the fast momentum with which Grails released their early material, the instrumental post-rockers’ ninth LP is defined by a meditative feel coursing through the songs’ proverbial veins. Read my review of Miracle Music for FLOOD.
The Bad Penny (beta) 