#NewMusicFriday: August 1st 2025

As August kicks off, the first #NewMusicFriday of the month sees new albums from The Armed, Fit For A King, De’Wayne, and Fortitude Valley. All of which you can read more about below.

Today also sees new music from a host of names. Genre-blurring hardcore mob Fox Lake deliver ‘New World Heat’. While ACCVSED are the latest name to emerge from the never-ending line of German metalcore bands. Further afield, Japanese metallers Knosis release their debut album, ‘Genknosis’. Meanwhile, Long Island group Car Bomb frankly don’t f*ck around as they release new music for the first time in six years. ‘Tiles Whispers Dreams’ is a cut-throat three-track reminder of their syncopated down-tuned chaos and disorienting brilliance.

Following on from last week’s nostalgic releases from Say Anything, Paramore, and Chiodos, today is the turn of Atreyu. They’ve re-recorded their 2004 record, ‘The Curse’ , ahead of their 20+1 anniversary UK tour this Autumn. Speaking of Paramore, frontwoman Hayley Williams has released 17 individual singles. We’ve decided to put all of them into this week’s round-up and playlist.

There are also releases from Oni, Blessings, Clobber, Anthony Family (Ceremony guitarist Anthony Anzaldo), Dayburn, and more.

The Armed – The Future Is Here and Everything Needs To Be Destroyed

If you had doubts about what direction The Armed would head in following the rock-leaning route of 2022’s ‘Perfect Saviors,’ then their sixth full-length is sure to win you over. Boldly titled ‘The Future Is Here and Everything Needs To Be Destroyed,’ it’s a rampant return to the ferocious, glitched-out hardcore that has served them so well.

Coming off the back of a trilogy of albums that dissected what it means to be a ‘real’ artist in the internet era, ‘The Future Is Here…’ sees The Armed with no conceptual agenda; just pure anger with a hint of disillusionment. From the moment vocalist Tony Wolski screams, “Fools! Liars! Heathens! Traitors!,” it’s an unrelenting sonic assault. Screeching guitars and destructive percussion battle for attention before a saxophone joins in, bringing some free-jazz to proceedings. It’s chaotic, but after all, it’s The Armed. Through the pummelling noise-punk of ‘Purity Drag’ (with floating piano keys) to the riotous pairing of ‘Kingbreaker’ and ‘Grace Obscure,’ they’re nothing but prevalent.

That doesn’t mean they can pull off the occasional hook. Take ‘Sharp Teeth’ as an example. Here, Wolski and longtime contributor Cara Drolshagen harmonise vocals against a backdrop of a fuzz-laden groove and mangled riffs. ‘I Steal What I Want’ has echoes of Queens of the Stone Age, albeit steamrolling its way past the 2-minute mark. ‘Heathen’ proves to be the album’s longest offering. Its 5-plus minutes runtime flourishes in heavy shoegaze with female harmonies and a sultry sax joining the wall of distortion. It highlights the element of experimentation that has been a constant characteristic of The Armed. After all, they went for years misleading the public about who was in the band (or possibly still do?)

Although there isn’t an outright concept on show, tracks like ‘Local Millionaire’ and ‘Broken Mirror’ contain themes of political and societal angst. The former manically builds to a defiant “Go fuck yourself!” While the latter sees Michigan punk outfit Prostitute join in to rally against materialism and class differences.

By the time the final distorted static bars of ‘A More Perfect Design’ disappear, The Armed have once again battered your senses. ‘The Future Is Here and Everything Needs To Be Destroyed’ isn’t a career best, and has no intention of trying to be. It’s merely the sound of a band releasing the clutch and being their visceral best.

Fit For A King – Lonely God

Although they’re creeping on becoming labelled as “veterans” of the metalcore genre, Texan quintet Fit For A King show they’re as ferocious as ever. Their eighth studio album, ‘Lonely God,’ sees them teaming up with producer Daniel Braunstein (Spiritbox), pushing their sound in a more modern direction. Yet, as tracks like the ferocious ‘Extinction’ and its avalanche of breakdowns show, the band still packs plenty of bite.

Opening cut, ‘Begin The Sacrifice’ blends cinematic ambience with Trey Celaya’s dense, punishing drums and djent-leaning guitars. While frontman Ryan Kirby seamlessly shifts between guttural growls and soaring clean vocals. It’s a gripping introduction that sets lays the groundwork for what’s to come. With a hint of grandeur, it provides a level of tension and brutality that you expect from Fit For A King.

It wouldn’t be a modern metalcore album with towering hooks and chugging guitars on offer.‘No Tomorrow’  is a prime example. As Kirby’s voice soars, “And if there’s no tomorrow, we’ll dance at the edge of the end and forget about our sorrows.” Coincidentally, it maintains ‘Lonely God’s apocalyptic theme.

Braunstein’s crisp production helps elevate the band’s heaviest moments. However, it also leads them into formulaic territory at times. Cuts such as ‘Sentient,’ ‘Technium,’ and the title are executed with an abundance of weight. In contrast to the intensity of ‘Extinction’ and ‘The Temple,’ they’re forgettable. On the other end of the spectrum, ‘Between Us’ dials back the chaos for an introspective power ballad,

Whereas ‘Between Us’ reigns in the heavy onslaught, allowing Kirby and company to deliver an introspective power ballad smoothly. Likewise, ‘Shelter’ highlights their versatility, providing a towering alt/hard rock number before crashing down with ‘Witness The End’.

Joined by Chris Motionless of Motionless In White, ‘Witness The End’ closes the album on an almighty high. With its blast beats, deathcore exterior, and symphonic backdrop, it proves to be a venomous finale. As fellow guitarist Bobby Lynge chugs away, Daniel Gailey serves up a searing guitar solo.

Despite not being thoroughly coherent, Fit For A King have fine-tuned their brand of chaotic metalcore to their benefit. When they reach their heaviest and most urgent moments, they rival the best in the genre. Threaded by a theme of existential dread, divine imagery and human collapse, it adds raw vulnerability to the hefty musical weight on offer.

For every high point, there’s the occasional familiar blip. It makes ‘Lonely God’ a noteworthy addition to Fit For A King‘s extensive catalogue, even if it doesn’t quite reach their full potential.

De’wayne – June

For the best part of eight years, Houston-born artist De’wayne has been fusing rock, funk, R&B, punk, and electronic together. It’s led the Los Angeles-based singer-songwriter to develop a versatile style, one that comes to fruition on his third album, ‘june’.

Strung together by a neon coolness, tracks such as ‘lady lady’ strut with charisma and an infectious chorus. His admiration for the opposite sex continues on the title track. Again, he delivers a pulsating hook that you keep coming back to; “Her name is Junе, and I think she’s pretty cute, And shе’s got that kinda thing that should be studied in school, And she’s got that kinda fire that makes me lose my cool.”

A run of summer-ready funk follows. It’s here where De’wayne‘s influences come clear. ‘take a picture’ glistens with hints of Lenny Kravitz and ‘i’ll be there’ prospers with a charming 70s-esque groove. ‘forever’ is the sultry lovechild of Prince and ’80s era David Bowie; jangly guitars, a pastel solo, and descending brass complement De’wayne‘s R&B charm. ‘highway robbery’ saunters with abundance of confidence, bringing together his influences in one go.

That’s not to say he’s able to bring some rock-laden grit to the table. ‘sunday’ allows De’wayne to head into stadium-made heartland rock territory, akin to Bruce Springsteen or The Killers. Meanwhile, ‘prize fight’ revolves around punchy guitars, a rigid bass groove, and thick drums. ‘love raider’ later follows in a similar stiff manner. Furthermore, it’s not all glitz and glamour for De’Wayne. The penultimate track, ‘What Does He Really Know,’ serves as a personal reminder of his musical journey. Singing of his struggles and sacrifices, he’s complemented by a mix of R&B and pop-punk. Aided by an aura of grandeur, it’s a late album highlight.

On paper, the mix of styles found on ‘june’ can be somewhat jarring. However, De’Wayne pulls it off with conviction. He’s able to produce fun, infectious cuts that don’t shy away from his influences. It results in an album that grows in replay value with each listen. De’Wayne might not break through to become the crossover star he has his eyes set on ‘june,’ yet it’s sure to get him noticed.

Fortitude Valley – Part Of The Problem, Baby

Four years from their self-titled debut, Fortitude Valley return with another collection of power-pop-infused indie-punk. Led by Australia-born Laura Kovic, she’s joined by David Hillier (Fast Blood), bassist Naomi Griffin and drummer Nathan Stephens-Griffin (both Martha). Now, as a solidified unit, it’s allowed Kovic to lyrically hone in on an introspective narrative of self-doubt and self-sabotage. Whether that be ‘Totally’s tale of drunken 3am arguments and broken relationships, ‘Red Sky’s long-distance yearning, “crying at the back of the bar” on ‘Don’t You Wanna Be Near Me?’

It’s a contrast to the often bubbly hooks that pour out on ‘Everything Everywhere’ or the playful guitars of ‘Video (Right There With You)’. Musically, there is a constant sunny disposition to Fortitude Valley. ‘Part Of The Problem, Baby’s title track highlights the favourable simplicity of what the quartet pull off. As Hillier’s guitar melodically rings out, the sibling duo of Naomi and Nathan provide a sturdy rhymic foundation. ‘Sunshine State’ maintains the lyrical element of distance, complemented by whizzying, jangly guitars. Likewise, ‘Take Me Away, I’m Dreaming’ contains glistening guitars, pleasing harmonies and Kovic wanting to escape her problems.

The emotional weight that is scattered throughout comes to fruition on ‘Into The Wild’. Beginning with just Kovic’s voice and an atmospheric guitar, low-end percussion drifts in during its final moments. It elevates the heart-tugging aura of the penultimate track. The snappy conclusion, ‘Oceans Apart,’ neatly ties the narrative together. While the element of distance remains, there’s a sense of acceptance. It’s paired with one final bubbling hook.

Overall, ‘Part Of The Problem, Baby’ is a digestible set of DIY indie-punk. It doesn’t suffer from the weight of its emotional narrative, allowing Fortitude Valley‘s favourable, often radiant, melodies to shine through.

What is out on #NewMusicFriday?

The Armed – The Future Is Here and Everything Needs To Be Destroyed
Fit For A King – Lonely God
Hayley Williams – 17 Singles
Boston Manor – Audiotree Live
De’wayne – June
Atreyu – The Curse (2025)
Fortitude Valley – Part Of The Problem, Baby
Fox Lake – New World Heat
ACCVSED – Dealers of Doom
Car Bomb – Tiles Whisper Dreams
Knosis – Genknosis
Oni – Genesis, Pt. II
Blessings – Blodsträngen
Clobber – God Loves, Man Kills
Pete Bentham and the Dinner Ladies – Art, Religion and Chocolate Biscuits
Anthony Family – Live From An Ordinary Place
Wisp – If Not Winter
Dayburn – Hollow Sounds, Part I
Blush – Beauty Fades, Pain Lasts Forever
20K Rio – Burn After Reading
Hot Joy – Quality Control b/w Leaning
Hammer – Trapped
LOMMI – 667788
INVICIM – Guilt Of Gods
Vlad In Tears – Hide Inside
st.sinner – hearts in hands
pilothead – distant
Sterilizing The Deceased – NOTHING

If you think I’ve missed something or have a new album/EP/song to tell us about, tell us about it here.

If you’re looking for the latest tracks focusing on rock, punk, hardcore, metal, emo, and everything in between, then check out our ‘Newish Music’ playlist on Spotify or Apple Music.