Whilst the extended play format is often overshadowed by its full length counterpart, it would be impossible to signify the importance of the humble EP. It’s on this format where emerging bands first make their sound, where established acts foray down new musical avenues and where musical pioneers first treaded down their musical journeys that are now adored with gold. Granted, long play records may the bricks that bands construct their careers out of, but it’s the EP format that serves as the foundation and finer decor.
With that in mind, and with the sheer number of brilliant EPs released this year, we count down the top 20 extended plays of this year.
We saw the return of many a band this year but one sneaky EP release from Detroit’s Old Gods passed many by. Jeff Tuttle (ex-The Dillinger Escape Plan) and members of The Armed first release in 9 years together and it is three tracks of unadulterated, heavy, hardcore rawness. – Adam Vallely
There is very little that any fan across the scope of metal could find about this EP not to enjoy. The London riff squad have delivered a sleek 6-track that refines and delivers on all aspects of heavy music, from technical death metal through to infectious 2-step groove, it is a beast of a record and deserves attention across the board. – Jasper Harmer
Guiding us through their most recent chapter of experimental embarkments into a compounded musical bombardment; the Bostonian Hybrid Alt- Rock artist Poppy, delivered the essence of overwhelming defiance with her most personal deluge of inspiration to date with her impressive fifth extended play Stagger. – Bennie Osborne
Ahead of their UK debut at Download Festival 2023, SiM shot out a four track EP packed with reggae-metal, filthy breakdowns, some downright anthemic choruses and that one colossal, orchestral anime opener they’ve become so well known for. Beware Skindred, for SiM are coming for your crown as the world’s leading ragga-punk unit. – Elliot Grimmie
After a stellar debut album but unfortunately cancelling tours due to lockdowns worldwide, Irist poured every ounce of emotion into this EP. Everything from the blast beats, soaring, dirty guitars and disgusting vocals, this is nothing short of massive sounding. – Adam Vallely
As feral as the band’s moniker suggests, the latest EP from the Birmingham unit Creature is the sonic equivalent of being caught between the molars and canines of a musical monstrosity. The last instalment of a trio of EPs from the metallic hardcore trio, Haunt is 11 minutes of riffs, grooves, savagery in the key of a brutal existentialism. – Dan Hillier
Following on from the first part of our albums of the year feature, we’re now into the second instalment, counting down from 30 to 11. If you’re yet to read the first part of the list, you can read it here.
In the oversaturated pop punk market of today, it is extremely difficult to stand out. So, what do you do? Like Stand Atlantic, you simply do whatever you wish. The band have experimented with their sound even more, pushing the boundaries of their music further and further including trap beats and chugging guitar riffs, all while still keeping Bonnie Fraser’s vocals front and centre. This album really has something for everyone, from those anthemic choruses that deserve to be yelled out by adoring fans, to the more aggressive ‘switchblade’, complete with ripping guitar solo. With F.E.A.R, Stand Atlantic have redefined what it means to be a pop punk band in the modern day. – Megan Jenkins
In a totally unsurprising move East Coast prog-emo titans Coheed and Cambria brought their A game for their latest release, the second part in a promising five part continuation to their Amory Wars series of sci-fi concept albums. Despite the seemingly high barrier to entry newcomers and seasoned children of the fence will find plenty to love as Coheed lean into their most experimental yet accessible album so far, embracing 80s synths and poppy hooks. Vaxis II is a distillation of the incredibly deep, earnest, nerdy spirit of Coheed with splashes of Phil Collins and The Empire Strikes Back. – Tom Bruce
No frills doesn’t necessarily have to mean no surprises. The debut LP from indie punk trio Cheersbleederz, Even In Just is 10 songs of ceaselessly bubbling melodies that also witness the somewhat supergroup deter from the norm in order to successfully undertake some risks in songwriting and production. Joyously giddy and unapologetic whilst also contemplative and self-aware, the tracks that form the record simply radiate a sense of well-natured fun despite their poignant nature. Ultimately though, it’s those aforementioned melodies that make this record so haplessly lovable. With ear-worms aplenty, the hooks of Even In Just will stay with you for a long time long after you’re originally ensnared. – Dan Hillier
Feminist post-hardcore collective Petrol Girls have always revelled in controversy, their third full length is no exception, jumping between tongue in cheek jabs and calls to take to the streets. Lead single ‘Baby I Had an Abortion’ is a highlight of their career with buzzsaw guitar riffs and a sing-along chorus that’ll leave groups of grumpy, middle-aged men stomping out of venues around the country. Baby is among this year’s most important albums, full of anthems to be screamed at protests. Purchase this album if you want to be ready for the next few years of defending our rights. – Tom Bruce
Wormrot made immense waves in the metal scene this year with their grindcore triumph Hiss. Vocalist Arif Suhaimi announced his departure from the group earlier this year after the record was announced, since he no longer had any interest in Wormrot, but you’d never know it from the insanity of this album. Twenty-one tracks and nearly as many genres blaze by in 32 minutes. Violin, courtesy of studio intern Myra Choo, provides further sonic depth to this instant extreme-metal classic. Wormrot ground to powder all other releases on the road to grindcore record of the year. – Josiah Aden
After 2020’s inflammatory debut album We Live Here, London based grime-punk duo Bob Vylan return with their eagerly anticipated follow up. Their influences – from Stormzy to The Sex Pistols – have one thing in common, distain for the monarchy and Britain’s totalitarian governments, and Bob Vylan carry that torch into the 2020s and run with it. Standout tracks ‘GDP’, ‘Take That’ and ‘Bait the Bear’ all blend provocative rap with anarchic punk instrumentals and screamed choruses. The Price of Life is a timely and relevant statement carrying the working class DIY spirit with hard hitting rap verses and punk hooks. – Tom Bruce
Math-pop; a hybridisation of a genre of contrasting and polarising conventions that shouldn’t amalgamate. Yet the debut from FES alchemises these genres like they’re chemically and atomically bonded from the onset. Equal parts arena-worthy pop melodies and intricate fretboard wizardry best suited for the underground pursuitits, In Regards From Home is a slick, high-energy and endlessly enjoyable lesson in genre chemistry that’s abound to fascinate and surprise even the most educated of musical listeners. Yet, despite it’s musically adventurous nature, it’s the lyrical themes and homely delivery that makes this album so brilliant. Full of ruminations on identity, mental health and grief, the way this band use their highly-technical output to narrate such relatable and universal themes is a testament to their inarguable skill at large. – Dan Hillier
Whilst Covid’s iron clutch on the music industry finally lessened, 2022 was – once again – a year fraught with turmoil. From socio-economic upheaval on our own shores to acts of horror on a global scale, 2022 has been another year of Earth slipping more off it’s axis. However, as always, music has been there as a perpetual comfort. And what a year for music it’s been.
We’ve seen legacy acts reinvent themselves, new names come screaming out the shadow with jaw-dropping work and acts breaking new ground by subverting redundant genre norms. With that in mind, it’s made compiling this list excruciating – but regardless – it’s here; the Noizze top 50 records of 2022.
Now, before we delve into our top 50 records of the year, a little disclaimer is needed. The eagle eyed amongst you may notice a discrepancy between the ranking of this list and individual review scores. Throughout this list a number of records we gave perfect 10/10 scores will be placed lower than albums we gave scores of 9 and 8. The reason for this is that whilst reviews are the opinions of a single writer, this list was decided as a collective. As you can imagine it took a lot of discussion, arguing and maybe one or two threats of physical violence, but we got there in the end.
Now with that out the way we present the first part of our 50 best records of 2020, beginning with 50 down to 31.
Norwich based Eat Your Own Head have produced an engrossing, technically interesting melee of sound. Pulling inspiration from every corner of the alt-rock universe, Tracks like ‘Come Undone’ and ‘Bullets’ show their range from warmth and groove led riffs to heaviness and intensity. Even a lighter touch on ‘Winter Takes Its Toll’. This is a band to keep your eye on. – Adam Vallely
After years of dormancy Bastions have erupted back onto the scene with Majestic Desolation, a slice of dark and gloomy, post-hardcore by the Welsh pioneers. Picking up where they left off, Bastions return once again weaving their dense, claustrophobic atmospheres that cast a sombre shadow over all in their path. – James Davenport
Kardashev claim to have created an entire new subgenre of metal – and they’re right. Melding crushing death metal, soaring melodic vocals and atmospheric shoegaze, Liminal Rite excels at bringing two disparate worlds together seamlessly. Deeply philosophical, addressing memory, humanity and more, it’s an emotional rollercoaster that’s also jam-packed with riffs. – Will Marshall
Atmospherically fetid yet musically fresh, It’s Time…To Rise From The Grave see’s Undeath forgoing all the needless gimmicks within modern day death metal to return to the rotten roots of the genre in brilliant fashion. There’s no fat nor chaff to this record, just lean, pulverising slabs of old school death brutality in it’s most fun and viscera-coated form. – Dan Hillier
Continuously cementing themselves in the underbelly of the UK music scene, Cassels have gone from strength to strength with their new record and shows alongside the likes of legends Unsane. A Gut Feeling is musically angular and lyrically outspoken in their view on the world and those that inhabit its darkest corners. The stories of many fictional characters told and untold backed by some of the best post-punk around. – Adam Vallely
Combining dizzying highs of grandeur, relentless aggression and vast atmospheres all draped in moments of sheer beauty, the anonymous, Portuguese extreme metal outfit Gaerea surpass all and any expectations with the absolutely, awe-inspiring triumph that is Mirage. – James Davenport
Stijn (Vanhoegaerden, Guitars): “Passionate”
Peter (Mulders, Bass): “Melody”
Stephenie (Mannaerts, vocals, drums): “Is Mature a stupid word? Maybe more mature, I mean it like we’re older in a good way, like a journey, I’d say journey.”
Stijn: “It changes all the time for me but right now it’s ‘What Have We Done’.
Peter: “That was my favourite last week but now it’s Dust.”
Stephenie: “I would also go between those two but I will go with ‘What Have We Done’.
Stijn: “That’s the real answer, we all go between those two.”
Stephenie: “I think if you’d told us even six months before the writing process we’re going to use a Moog bass synth and chimes or a twelve string guitar I think everyone would’ve been like, really?”
Stijn: “It all came gradually, it wasn’t like we got all this stuff and put it in the rehearsal space.”
Stephenie: “Yeah, we used more but what’s left now is what’s in the songs.”
Peter: “I guess the lockdown made us buy stuff and try it just for fun and a lot of that stuff ended up in the rehearsal room, we were going on all the second hand websites to look for gear.”
Stephenie: “In Belgium we use a website called secondhand.be, I think we even put it in the thank you notes of the album.”
Coinciding with the announcement of their upcoming full length debut The Boogie Down South – dropping January 27th via Venn Records – Cardiff hardcore powerpunks XL Life are back with ‘Baby Steps’, a corroboration between them and the freshly MOBO awarded Bob Vylan. Driven by former Astroid Boys member Traxx’s incendiary vocals and pogoing musicianship, ‘Baby Steps’ addresses the traumatic episodes of substance abuse, broken homes, violence and mental health issues that almost derailed the band in the past. Yet dispute it’s harrowing lyrical themes, it’s unflinching yet unyielding in it’s posture, ultimately taking form as a statement of positive determination. “We knew this song had to be made, because we had all been going through some heavy stuff outside of the band”, says Traxx on the single. “The band has been stop-start/stop-start the whole time, trying to prioritise our health and coming up against some really traumatic circumstances, so this song had to address that. The healing journey. Baby steps. Holding onto the promises.” – Dan Hillier
Insomnium‘s incoming ninth album, Anno 1696, tells the story written by bassist/vocalist Niilo Sevänen, particularly addressing the famine in Northern Europe and the ongoing brutal witch trials of that era. Their latest single, ‘White Christ’, features the talents of none other than Sakis Tolis of Greek extreme metallers Rotting Christ and the two vocalists’ interplay is a particular highlight of the song. While ‘White Christ’ focuses predominantly on the melancholic melodic death metal the band have been renowned for, the album promises not only grisly tales of the evils people visit on each other, but a tour of all the sonic territories Insomnium have explored over their career. We can’t wait. – Will Marshall
The Acacia Strain have always put the “death” in deathcore, and their new single is no different. With nods to of Fit For An Autopsy aplenty (with whom they co-headline a tour in 2023) and a hardcore breakdown that sounds like it was lifted from Knocked Loose, ‘Untended Graves’ sends a roar through the deathcore world. Few deathcore bands can make a two minutes feel like four, like The Acacia Strain do here with rapid rhythmic turns, bridge-cable bass lines, and headbanging breakdowns. “Praying for heaven but begging for hell”, yes, but the metal world will be praying for an EP but begging for an album thanks to ‘Untended Graves’. – Josiah Aden”
There’s no denying that Casey where one of the crucial components in post-hardcore’s ascendancy in the midst of the last decade. It’s nigh-on impossible to imagine the state of the modern scene without their input or direction. However, the Welsh band where far more than just a brilliant musical act; Casey, at their core, were a labor of love. They where a band fuelled by real agony, an eternity that transmuted things most ugly and bleak into something more beautiful and candescent. Their post-hardcore trendsetters where a band that channeled their collective misery into their sound – and whilst their disbandment in 2018 felt immature – it was understandable, almost honourable. They as an entity had channelled their grievances, found catharsis though their work and served their purpose. Lo-and-behold though, for after four years Casey are back more driven than before with their latest single ‘Great Grief.’ A continuation of the heartache and woe that drove their two full lengths, ‘Great Grief’ is a gorgeously gloomy track that bares it’s bruised and bloody textures with full conviction. There’s none of the gimmicks or tricks abundant in the post-hardcore right now – just the full embodiment of trauma itself. – Dan Hillier
After delivering one of the most visceral, diverse and emotive post-rock records of recent years back in 2021, Bruit≤ have returned with what can only be aptly described as a piece of musical vandalism. Standing as the band’s only available track on Spotify, ‘Parasite (The Boycott Manifesto)’ is a musical trojan horse created to expose the nefarious aims and workings of the streaming industry. Driven by piledriving walls of noise and a claustrophobic atmosphere, the track is far from a generic offering of data to appease the soulless algorithm and more of a spoken word rumination on how the likes of Spotify, Apple Music, Amazon Music and the rest are ultimately nothing more than parasites generating incomprehensible amounts of capital from the work and passion of artists. “We are regularly asked the question: ‘Why can’t we find you on the streaming platforms?’”, say the band. “Here is a universal and digital answer that will generate clicks while bringing in shareholders. Since the great crisis of the record industry, the industry has mutated—it has transformed itself to exploit artists as never before by crushing them under the monopoly of the streaming platforms. At a time when a change of algorithm can call into question your digital existence, the durability of your professional activity, or the peace of your social life, it seems more necessary than ever to remind people that an audience is not a database and that artists do not have to become influencers. It is unacceptable that people like Daniel Ek, the boss of Spotify, still exploit artists in total impunity and use this money to invest in AI for military use. It’s high time to practice music vandalism and parasite the machine.” – Dan Hillier
The second single from the reinvigorated Dream State, ‘Comfort in Chaos’ also came with the announcement of a new EP landing February 2023 titled Untethered, a chance for the band to experiment and try new things while still rooting themselves in an identifiably Dream State sound. The song itself taps into that more synth-laden sound we heard from debut album Primrose Path, while new vocalist Jessie gets to showcase a gravellier, more aggressive side to her voice. Of the song’s themes, she explains that “Comfort In Chaos is about feeling the need for constant reassurance from the closest people around you and your loved ones, but by being so needy & insecure it would push those people away. It’s about not knowing how to break the cycle of helplessly looking for issues, triggered by a traumatic response.” – Will Marshall
