The Armed, Holding Absence, Static Dress, Baroness and More: New Noizze – The 27 Must-Listen Tracks of the Week

Big bumper edition this week as we where all at either at Glasto or Outbreak. Here's the best 27 singles from the past two weeks.

The Armed – Sport of Form

Detroit band The Armed might’ve started life in the math/hardcore scenes but they very swiftly outgrew them, especially with 2021’s Ultrapop. Now returning with their fifth album, Perfect Saviors, The Armed are perhaps reaching ever closer to their final form as they leave genre ever further behind them. Lead single ‘Sport of Form’ is far closer to pop than they’ve ever been, but with their own uniquely experimental, noise-influenced take on its sonic template. Gone are the outbursts of harsh screams; instead we have filtered, robotic-sounding voices at the outset. There’s still the bursts of guitar and drums, but again through their evolved pop lens that transcends simple genre trappings. Of the song, vocalist Tony Wolksi (his actual name, as the band claim to be ditching the pseudonyms this time) says “there are two types of sport—those of measure and those of form. A sport of measure like basketball, football, or soccer has a point system and a sort of binary path to victory. A sport of form is something like diving, figure skating, or bodybuilding—something with evolving standards and a layer of subjectivity and some sort of critical component. The world that surrounds us is complex, and our lives are truly more akin to a sport of form than one of measure. Yet, so many people see it as exactly the opposite.” – Will Marshall

Baroness – Last Word

Things had been a little too quiet on the Baroness front recently. Having been four long years since the release of 2019 album Gold & Grey, when teasers started popping up on their social media platforms, fans were immediately whipped into a frenzy. Revealing their new album Stone, firmly breaking away from the colours saga and into a new era for the band, first single ‘Last Word’ makes for one hell of a comeback. Feeling like it falls somewhere between the band’s Blue & Yellow/Green albums, this is everything you could ask for from Baroness after such a long wait. Blasting to life with a return of their sludgy guitar tones, John Baizley and Gina Gleason’s delicate interwoven guitar riffs, melodies and ripping solos are magnificent throughout, paired with both members’ stellar vocal performances. Nick Jost’s bass licks are non-stop and stay thoroughly impressive as they lock in and explore the space between Sebastian Thomson’s phenomenal drumming. ‘Last Word’ has set the bar high with expectations for Stone and has made the agonising wait melt away. – Harry Shiels

Filth Is Eternal – Crawl Space

Seattle noisemongers Filth Is Eternal rightly turned heads with their last album Love is A Lie, Filth is Eternal and now they’ve unveiled its follow-up, Find Out, alongside lead single ‘Crawl Space’. As ever it’s a thrill ride through crust punk, d-beat hardcore and more, all capped off with a strong sense of melody that could only be punk.  Think a d-beat The Distillers, and you’re sort of in the right ballpark. In just ninety seconds, ‘Crawl Space’ goes off like a sonic pipe bomb, breakneck paced drums, even a screaming solo and, most importantly, a bucketload of attitude sure to whip up pits. As vocalist Lis Di Angelo puts it, . “It’s about that small window of time when everything feels like it’s working – the band, relationships, work, mental health, the meds, everything – but something still feels off, like it’s destined to fall apart no matter what choices you make.” – Will Marshall

Holding Absence – Honey Moon

Welsh emo stars Holding Absence have always had a strong current of feeling in every song, but new single ‘Honey Moon’ might just be one of the strongest ballads they’ve penned yet. It’s, in their words, “a lovesick poem that looks to the stars to portray a deep, isolated yearning for the love of another,” exploring this through its slow tempo, very much ballad-esque pacing. Lucas Woodland once more showcases his stunning range, switching into higher registers with ease before coming back down to deliver heart-rending melodies. It’s a slow-burning, yearning song that captures that feeling of distance and loss expertly, as only Holding Absence can. It’s the third single from upcoming third album The Noble Art of Self Destruction and shows a band unafraid to explore the edges of their sonic identity and their mastery of the emotional spectrum. – Will Marshall

The Sun’s Journey Through The Night – Orion

In Greek mythology, Orion is said to the god of hunting. Those ancient legends say that no creature could escape or subdue the greek god. Fitting then, that the latest track from The Sun’s Journey Through The Night is an inescapable and slaughtering slice of atmospheric black metal. The group’s third single to be taken from their upcoming record Wordless – released 28^th July via Church Road – ‘Orion’ is seven minutes of pure misery and nihilism that only intensifies as the track transitions from melancholic black metal to hushed and desolate minimalism. Whilst the term ‘cosmic black metal’ may receive scoffs from elitists and the like, there’s truly no better way to describe this track and The Sun’s Journey Through The Night as a whole – no other band in the black metal game has done so well in metamorphosing personal anguish into black metal that’s atmospheric on a celestial level. – Dan Hillier

Blood Command – Forever Soldiers of Esther

There’s been some trepidation among fans that despite the quality of the preceding three singles, that the new Blood Command record would be a mellower, slower affair without the bite and fury of their previous work. Thankfully, the fourth single from their upcoming September album World Domination puts those concerns to bed. ‘Forever Soldiers Of Esther’ is a deeply personal one, taking inspiration from guitarist Yngve Andersen’s late mother. The verses are comprised of words spoken by her to Yngve as a child and the chorus is what he wished he could say to her, but sadly never did. The juxtaposition between the classic, punky music and hard hitting lyrics is great, and shows that the band haven’t lost their edge in producing fast, feisty bangers. – Chris Earl

Static Dress – such.a.shame (smoking lounge redux)

Following on from their reimagined version of ‘courtney, just relax’ featuring Jess Nyx of Canadian hardcore outfit World of Pleasure, Static Dress are back with yet another fresh take on music from their debut album Rouge Carpet Disaster, gearing up for the Redux version due later this year. This time, we are treated to a beautiful stripped-back rendition of ‘such.a.shame’, on which Olli Appleyard pulls off one of his finest vocal performances to date. The sheer vulnerability that emirates from his simply incredible melodies being draped over little more than a piano is stunning and the vocal effects that are utilised still give you that trademark Static Dress sense of this music being from a world of the remarkable. One of the band’s finest accomplishments to date. – Ryan Ward

Dream State – Chin Up Princess

They might’ve unveiled a three-track EP not too long ago, but Dream State haven’t rested, releasing brand new single ‘Chin Up Princess’ that shows yet another sonic evolution from the post-hardcore quartet. Where Untethered was their way of introducing a new lineup to the world, ‘Chin Up Princess’ shows them pushing their sound further, and is closer to debut Primrose Path while still charting its own course. It’s “a song about having to deal with a narcissist, whose world falls apart around them as they start to lose everyone and everything close to them, due to bad habits and toxic traits. The music is dark, fierce, and all over the place, mirroring the theme of the lyrics,” as the band describe it. Musically, it’s a bouncy, synth-driven song that showcases vocalist Jessie Powell’s knack for soaring melodies just as much as her snarling screams, one that’s sure to be a hit live when they surely debut it at next week’s 2000 Trees. – Will Marshall

Urne – The Burden

Urne turned heads with their debut album Serpent & Spirit, as it gained them a cult following who loved its blend of thrash, heavy metal, groove and more to form a promising debut from the trio. Followup A Feast on Sorrow is a much darker, harrowing affair; gone is the “fun”, so to speak, and in its place are musings on illness, death and grief as frontman Joe Nally experienced over the past few years. It’s also a huge sonic step up for the band; the riffs are heavier, the grooves are even more impressive and the songwriting has been tightened up immensely if its singles are to be believed. ‘The Burden’ has a massive arena metal riff, capped by snarling vocals that are menacing and harrowing in equal measure. It’s a striking, building-flattening heavy hitter that sounds far larger than the sum of its parts. Bring on the album, we say. – Will Marshall

Soars – Old & Heavy

An absolute treat for all fans of post-rock, this. ‘Old & Heavy’ is the latest single from Soars, the solo project of Kristian Karlsson and goodness is it transcendent. Primarily known for his work in PG. Lost and Cult Of Luna, ‘Old & Heavy’ see’s Karlsson once again intricately weaving a synth heavy tapestry of sound that’s musically rich as it is emotionally moving, with the track baring all the melancholy and fluid human dynamics present within his work with PG. Lost. In fact, given the awe-inspiring splendour of the track, one would be forgiven in thinking this would be a PG. Lost track in itself. “I got tired of discarding ideas I’ve written that didn’t fit PG, Lost, but at the same time were too good for my ears to throw away”, states Karlsoon on why ‘Old & Heavy’ isn’t a PG. Lost song. “PG. Lost as a collective works at a relatively slow pace, while I by default write music all the time… so eventually it became clear to me that I needed a new outlet for all those ideas”. – Dan Hillier

Maebe – 50 Words For Bro

The second single to be taken from Maebe’s long awaited debut long play Rebirth. Relive. Repeat. – released July 21st independently – ‘50 Words For Bro’ is a feverish, giddy and infectious slice of upbeat post-rock that counters the notion of the genre being stagnant and stoic. Capturing the zeal for life that can stem from a relationship between close friends, the track is simply impossible not to adore. The sense of adventurous charm intoxicating, there’s real virtuosity present, and it’s simply impossible not to envision warm summer days spent with brilliant company. However, despite it’s inherent warmth and joy, the main inspiration for ‘50 Words For Bro’ did not stem from summer hangs, but rather a figure most controversial in the post and math rock scene. “Polyphia’s Tim Henson once told me he wished guitar music would die,” says Astley-Brown, the figure behind Maebe. “Some players took his words at face value, but I found them hugely inspiring: music made with guitars has to appeal beyond guitarists. It pushed me to make every note count, and took my playing to new melodic heights – all of which captures the giddy excitement of hanging with your best buds.” – Dan Hillier

Dead Heat – Eyes Of The Real

Crucial listening for fans of Power Trip, Enforced and Take Offense, the latest track from crossover thrash bruisers Dead Heat is a track perfectly engineered for side-to-side, front-to-back pit ultraviolence. Tied together with dive bombs, pummelling bass, serrated riffs and delivered with a pace absolutely perfect for delivering a boot to a strangers nose, ‘Eyes Of The Real’ is the kind of ironclad thrash destined to soundtrack pit injuries far removed from Dead Heat’s native California. The sooner Dead Heat return to the UK and we can see someone use a skateboard as a pit weapon the better. – Dan Hillier

Kvelertak – Skoggangr

Continuing to build anticipation of their new album Endlings, Norwegian black ‘n’ rollers Kvelertak reveal the next taste of what’s to come in the form of new single ‘Skoggangr’. Kicking off at a significantly relaxed pace compared to previous single ‘Krøterveg Te Helvet’, ‘Skoggangr’ is saturated in the classic rock/rock n roll influences the band like to dip into. With mesmerising guitar melodies and harmonies weaved throughout, this is surprisingly close to a laid back summer anthem until the cheek little beat break in the centre gives a brief flash of the aggro chug you’d expect from the Nords. The dual harmonies at the close of the track are very reminiscent of Brian May’s soft, glissando lead guitar harmonies in feel and tone, really lending to the classic rock stylings. With such a noticeable difference between the two singles, its exciting to ponder what the band have up their sleeves for their fans when Endlings is released to the masses. – Harry Shiels

Pain of Truth x 200 Stab Wounds – Actin’ Up

The newest single off the Never Ending Game and E-Town Concrete split… oh wait. That doesn’t exist. But if it did, ‘Actin’ Up’, the new single from Pain of Truth, featuring the ever sick 200 Stab Wounds, would be exactly how that split would sound. Combining elements of what sounds like Midwest hardcore and beatdown while fusing them with inspiration pulled from hip hop, for vocal delivery, Pain of Truth aren’t pulling any punches. Not to mention bringing 200 Stab Wounds along for the ride. An absolutely perfect decision to say the least. With 0:36 seconds left, the beatdown powerhouse closes out the song with a massive bang. The USA has been setting the bar pretty high in terms of their hardcore scenes across its many states, and ‘Actin’ Up’ is more than enough proof of that if you need any. – Nathaniel Maure

Jamie’s Elsewhere – Escapist

Yeah you heard that right, Jamie’s Elsewhere are finally back in action. Their last record having released all the way back in 2014, we finally have a taste of the bands upcoming EP ‘Paradise’. Frontman Aaron Pauley has had years in the game proving himself as one of the best vocalists in heavy music, capable of pulling off filthy guttural growls just as well as he does beautifully sung melody. ‘Escapist’ feels like the culmination of all of that experience, an exciting, fresh burst of energy from a band who’ve not been around for a hot minute, but in just one track have proven they certainly still have what it takes to contend with their peers in the metalcore and adjacent genres. ‘Escapist’ is high production, riffy headbangers tune of the highest calibre, look forward to more of this fine tuned songwriting when the Paradise EP drops on July 19th. – Elliot Grimmie

L.S. Dunes – Benadryl Subreddit

The emo supergroup L.S. Dunes are back once more. After dropping their debut album last year and following it up with tours both sides of the Atlantic, the band have given us a fresh single born from their time recording out the desert studio of Rancho de la Luna. ‘Benadryl Subreddit’ embodies this experience in every way. Far more simplistic than what the band have previously released, the track is a hard rocking and ferociously raw cut, with blazing riffs and slick guitar licks that showcase the band’s musical pedigree without ever tarnishing the down-to-earth nature of the track. Anthony Green switches between a swaggering drawl and piercing screams with ease, almost like he’s revving up a musical motorbike. It’s overall a great addition to their discography, and one showing that the band definitely have more to them than just being the ‘emo-supergroup’. – Ryan Ward

Cannibal Corpse – Blood Blind

In the midst of the death metal renaissance with bands like Undeath and Celestial Sanctuary carrying the torch and carrying it well, it’s great to see the bands that actually started the fire still going and sounding fantastic. Legends and one time Ace Ventura stars Cannibal Corpse are one such group, getting set to release their 16th studio album and releasing an absolute banger of a first track, ‘Blood Blind’. You all know the drill by now with Corpsegrinder and co, no frills, lyrically visceral death metal is the order of the day here. It rumbles and chugs along satisfyingly, with plenty of headbanging moments and gnarly riffs in the mix. If you’re not a fan by now, then this song won’t convert you but to diehards this will be a much welcome track that proves that death metal will never die. – Chris Earl

My Octopus Mind – Moving Slow

The first cut to be taken from the band’s third full length Trying To Be Normal – releasing October – ‘Moving Slow’ see’s the Bristolian experimental fourpiece My Octopus Mind once getting under our skin whilst documenting a sentiment of wishing to be comfortable in their own flesh. Weird and most wonderful, ‘Moving Slow’ is a grooving and hypnotic ode on the self-doubt that comes with trying to be true to yourself, with vocalist Liam O’Connell documenting his lack of courage of in living up to the ideal version of himself; a person unafraid to wear dresses in public, an individual unable to silence anxieties and a musician truly uncaring of what others think. It’s a sentiment that many of us can relate with, but what truly animates this exploration is the track’s truly unwavering and uncomplying take on experimental prog. It’s truly the sound of a band unafraid to take risks and path their own musical journey, and ‘Moving Slow’ is a must listen for fans of the likes of The Guru Guru, King & The Lizard Wizard and even the Scissor Sisters. – Dan Hillier

Sunshine Frisbee Laserbeam – Apocalypse

The second single to be taken from the Brummie gang’s second record Mortuary Pantomime – released August 4th independently – ‘Apocalypse’, thankfully, isn’t another song about the pandemic. What it is about however, is the feelings of dread that arise with comparing your work with others in a creative scene. Whilst the tracks serves as a continuation of the band’s sound that draws thoughts of fellow UK bands such as WACO and Other Half, ‘Apocalypse’ draws in motifs of acts such as Yeasayer, The Stooges and even Dead Kennedys in order to further a sense of menace and anxiety. It’a brilliant encapsulation of the dichotomy between melancholy and buoyancy that lies as the crux of this great band’s craft. – Dan Hillier

Texas In July – False Divinity

After a nearly ten year hiatus, Texas In July have finally returned to grace us with their newest single ‘False Divinity’. The first single to come from the camp since 2014’s Nooses, treating the audience with a cleaner production and an amazingly entertaining performance. This single is one for the long time fans who have been waiting eagerly since the release of Bloodwork, the band’s last full length album before deciding to call it a day. Don’t fret; while it’s filled with classic Texas In July style, it also manages a metalcore sound similar to Death Grip era Fit For A King, making clear this will also pull in a plethora of new fans while maintaining the old ones. This metalcore freight train just left the station, and shows no signs of stopping or slowing down anytime soon. – Nathaniel Maure

Orthodox – Soaking Nerves

Nashville’s own Orthodox has returned with yet another chaos inducing single, through the legendary Century Media Records, and let’s just say it is everything listeners hoped for and more. Full of everything that’s made the band what they are today, perfecting the sound they’ve honed in over the last couple years, ‘Soaking Nerves’ exceeds expectations while raising the bar even for the band’s lofty standards. Not comparable to anything out right now as Orthodox has been perfecting their own unique sound since The Sounds Of Loss; only getting better with age as they leave the Learning to Dissolve album cycle. The Nashville 4-piece has proven they’re on the rise and with this new single as proof, it’s safe to say the love has been more than deserved. – Nathaniel Maure

Electric Callboy – Every Time We Touch

This one’s for all of those folks who long for the halycon days of Punk Goes Pop. This is for people who love cheesy, silly covers that exist purely for fun. The artist? Electric Callboy, obviously. The cover? Only dancefloor classic ‘Every Time We Touch’ by Cascada. Probably more of a European hit than in the Americas, it’s an arms in the air, shake your hips banger, and on paper, there isn’t a band alive more suited to covering the track than the mad Germans. As per, there’s some heavier moments and it isn’t a cover that you’re going to hear played on KISS anytime soon but it’s a whole lot of fun. With Malevolence doing ‘Left Outside Alone’ recently, there isn’t a better time to be a fan of metal AND cheesy noughties bangers. A well done cover that shows a lot of love to the original and will absolutely go off at any club nights in the near future. – Chris Earl

Orphan – Hourglass

Need to have your ears assaulted by something utterly punishing but you’ve got less than two minutes to spare? Then ‘Hourglass’, the brand new single from Orphan has got you covered. A scathing cacophony of growls and thudding drums interspersed with audio of a 911 call mixed in, it’s more unsettling than the usual deathcore fare. The dual vocal approach of brothers Josh and Jacob Mathers is often smothering and by the time the track builds up to the expected but not unwelcome breakdown at the end, replete with a “you shot everybody?!” sample, it gets into some frankly disgusting territory. If this is any sort of indication about the future of the band, it’s as bright as this track is bleak. – Chris Earl

Caskets – Better Way Out

The countdown to emo rockers Caskets’ sophomore LP has begun. The fourth single was released this week, and it’s the hard-hitting album closer. ‘Better Way Out’ deals with heavy hearts and dark thoughts over the Leeds boys’ classic soaring vocals, catchy riffs, and airy atmospheres. While the lyrics, though heartfelt and poignant, are a little stilted, Matt Flood’s vocals and Benji Wilson’s guitars are in top form and keep the listener fully engaged. ‘Better Way Out’ is a strong closer. If these singles are any indication, Caskets have leaped the sophomore slump and are still climbing. – Josiah Aden

Crown Magnetar – Prismatic Tomb

Crown Magnetar drop a strong third single from their upcoming offering of brutality, Everything Bleeds, in the form of ‘Prismatic Tomb’. Deathcore fans haven’t had things so good since the days of Recreant and Unanswered; the genre is seeing a huge boom in popularity and bands like Crown Magnetar are carrying the torch. Filthy guitar licks, disgusting vocals and insane drumming worthy of Guinness World Records start this track off, before it twists and turns its hideous form to the end. The song features many dark and evil highlights, including an absolutely face-scrunching riff about a minute in, and a progressive clean guitar drop off that shows the band aren’t just another deathcore band with big riffs. When the lead guitar run kicks in during the latter half of the track, it could very well pose as the soundtrack to Satan’s ascent to the throne of hell. – Jude Bennett

Magnitude – Rectify

Anyone with even a tangential awareness of the genre knows hardcore is having a serious moment right now, from the breakout stars of Turnstile and Knocked Loose showing the genre’s breadth on the biggest stages to emerging acts like North Carolina’s straight edge wrecking crew Magnitude. The newest taste of an LP due out later this year, ‘Rectify’ is a straight-forward, rampaging single that declares the importance of breaking away from false realities. As vocalist Russell Bussey says, “Rectify is ultimately about rediscovering your true self. It’s about healing your mind from the effects of a society that places so much value in the vanity of the material world and status quo. The idea is to free your mind from the constant cycle of pursuing external validation that leads to unnecessary self criticism and insecurities.” In just two and a half minutes, the band provide a self-affirming blast of fury that demands we all understand ourselves properly and discover our real potential. – Will Marshall

Crystal Lake – Denial/Rebirth

How do you come back from the departure of one of the best heavy vocalists in the game? By recruiting John Robert C, that’s how. The former vocalist of The Last Ten Seconds Of Life is now dedicating his full breadth of time and energy to Crystal Lake after a lengthy and rigourous recruitment process involving auditions and live shows across Japan, beating out his competition and marking a new evolution of the band as their global success story continues to unfold. John’s deep growls and prior experience as a frontman solidify him as the best possible person to carry Crystal Lake forward, and the Denial/Rebirth singles demonstrate clearly for all to hear that the crushing heaviness, and graceful technicality of the band hasn’t gone anywhere. There’s still an exciting future ahead for Crystal Lake, and the band seem geared and ready right now to forge a whole new legacy. – Elliot Grimmie