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After releasing the song of the same name last week, NOAHFINNCE has now revealed all of the details of their new full-length album.

‘WONKY’ will be released on February 19 2027, via Hopeless Records, and serves as the follow-up to 2024’s ‘GROWING UP ON THE INTERNET’.

Noah had this to say about the record in a stark Instagram post:

“Wonky is a direct reaction to the state of the world right now – it’ll drive you crazy if you let it:
The rise of the alt right.
The increase in anti-trans legislation.
The polarisation of everyday people.
The hopelessness that my generation feels about the future.
The dystopian way in which billionaires, AI and algorithms dictate decisions that make life infinitely more difficult for the masses.
And the unrelenting anxiety caused by all of the above.

But it’s also an album about:
Accepting yourself for who you are.
Rejecting the notion that other people get to define your worth.
Celebrating the differences that draw us to each other.
Persevering despite everything that’s thrown at you.

It took 2 years to write this thing and FUCK was it worth the wait. This is the most amount of work I’ve ever put into anything in my life and I could not be happier with the final product. It’s not just an album, it takes you through a journey and I can’t wait for you to catch up.”

The artwork looks like this:

1. w3Lc0me 2 w0nky
2. RAYGUN
3. STUBBORN
4. THREES
5. fr33f@ll
6. WHAT IF
7. TOO SENSITIVE
8. MR OVERWHELM
9. CROSS EYED
10. DEAD IN AMERICA
11. d.3.a.d
12. WONKY
13. an att3mpt @ p3rs3veranc3
14. ALWAYS TOMORROW

As you can see, it features the previously shared ‘MR OVERWHELM’ and ‘TOO SENSITIVE’, as well as the freshly unveiled ‘WONKY’.

Noah had this to say about the title track, which was co-written with As It Is’ Patty Walters and Ben Biss:

“This is my first fully acoustic song since Asthma Attack came out 8 YEARS AGO and woweee this is very much another NOAHFINNCE song to cry to. Patty asked the question, ‘Why have you never written the classic acoustic emo song?’ This is what came out of it. It’s about accepting being different/a little bit fucked up and letting go of the idea that you need to change in order to be worthy.”

Noah is heading out on tour from today, and here are the dates you can catch him:

OCTOBER

22 – CARDIFF Y Plas, Cardiff
23 – BIRMINGHAM O2 Institute
24 – LEEDS Stylus
26 – NOTTINGHAM Rescue Rooms
27 – LONDON Electric Ballroom
29 – GLASGOW Saint Lukes
30 – NEWCASTLE Newcastle University
31 – MANCHESTER Academy 2

And Noah was also recently a guest on Rock Sound 7of30, which you can catch up with below:

The post NOAHFINNCE Announces New Album ‘WONKY’ appeared first on Rock Sound.

Posted on October 22nd 2026, 1:11pm

85-year-old singer is rehabbing in an effort to back to performing. Continue reading…

I have always had a thing for bubblegum music. It’s just fun to listen to. I would also argue that it’s not as easy to write as many people think. Writing catchy pop songs is a true art. Have you ever tried to write one yourself? It’s not easy to do. Or at least do it well. The 1910 Fruitgum Company was one of the most successful bubblegum pop groups of the late 1960s, helping define a musical movement built around catchy melodies, upbeat rhythms, and irresistible sing-along choruses. Originally formed in Linden, New Jersey, as Jeckell and the Hydes,

The post Top 10 1910 Fruitgum Company Songs appeared first on ClassicRockHistory.com.

This massive tour in support of 'Curious Ruminant' began last February and now continues into the fall of next year. Continue reading…

Sci-fi and speed metal. If that isn’t enough to get your hyperdrives boosted, then I don’t know what will. This particular combo isn’t as well represented in the metalverse as some of the more common varieties—sci-fi and black metal, campy horror and death metal, you know the ones—which puts Swedish speed freaks Armory in a prime position to dominate. With three full lengths under their belt so far, one of which positively received by our own Ape ov Steel, and a new vocalist at the helm, what new wonders await in fourth excursion Echoes of the Astrolith?

Well, MOAR speed, of course! This is high-octane, laser-focused fare set to collide with Earth at warp 9.5. Touchstones ranging from Agent Steel to Bütcher to Riot City inform Armory’s various traipses through speedy riffs, heavy metal bravado, and black metal flourishes. Melodies move with an almost Xoth-like wiggliness that brings a lot of whimsy and exuberance to otherwise dark and seedy songwriting (“Interceptor Squadron,” “Frequencies of Terror”). Riffs pound and pummel with the vigor of death metal without venturing into the structures that genre often builds, which gives Armory a sense of heft and fullness not unlike what Dark Angel’s seminal Darkness Descends must’ve felt like when it was new (“Sanity Disposed,” “The Final Invention,” “Astrolith (Rising)”). Of course, it wouldn’t be speed metal without 10,000^10 ft/lbs of torque to send it flying off the galactic rails, and thankfully Armory fueled up extra before launching. Echoes of the Astrolith moves with an urgency rarified even in this vigorous style (“Return of the True Godz,” “Frequencies of Terror,” “Pillars of Fire”).

While new vocalist Chris Rostoff acquits himself with aplomb here, guitarists G.Sundin and N.Ingelman steal the show and make Echoes of the Astrolith a clinic in guitar wizardry. If it isn’t by way of screaming solos that nosedive and pitch back up in aerobatic fashion (“Interceptor Squadron,” “Frequencies of Terror”), Armory’s axe arsenal displays electrified pyrotechnics through monolithic riffs that find a perfect center position between death, thrash, and speed (“Astrolith (Rising)”); or with melodious leads and tremolo flares that writhe impatiently from measure to measure as they pull the rest of the band into unexplored space (“Return of the True Godz,” “Cosmic Dreams,” “Pillars of Fire”). A.Holmström blisters his way through asteroid fields with double-bass pummels, sharp blasts, and menacing gallops all throughout. Yet, his unhinged fill work sends his weaponry into overdrive at every opportunity to leave even the space dust in Armory’s wake obliterated (“Interceptor Squadron,” “Omens,” “Sanity Disposed”). Chris Rostoff, as previously mentioned, proves himself an absolute powerhouse on the mic here. His sneering bark and soaring wails are a perfect fit for this sound, and his scalpel-precise pitch-work is nothing short of astounding at the record’s peaks (“Interceptor Squadron,” “Pillars of Fire”). I just wish I could hear Jesper Lundin’s bass better. I’m sure he’s keeping up with the band with ease, but his presence lacks oomph in many quadrants and what playing I do hear with clarity follows the path laid by the rest of the rhythm section (“Frequencies of Terror”).

Quality speed metal albums like this make me rethink my high estimation of other quality acts like Hellripper ever so slightly, but it’s hard to know what kind of staying power Echoes of the Astrolith has. Certain highlights such as “Interceptor Squadron” are sure to be trapped in the event horizon that is my playlist rotation. At 39 minutes, Echoes as a whole is tight enough to get regular spins out of me regardless of long-term memorability. However, a small question of consistency in songwriting quality nags at my thoughts. “Cosmic Dreams” is fun, but its mid-paced and slightly repetitive riffing introduces a poorly timed speed bump in the first quarter. In the second half, fluffy three-minute instrumental interlude “Spaceworkz” once again interrupts Echoes of the Astrolith’s momentum right before two high-octane bangers save the final third from certain doom. In the center, Echoes of the Astrolith keeps up a consistent level of songwriting quality—one that any band in this space should be proud to have penned—but a preponderance of overlong intros (“Omens”), and overlong outros (“The Final Invention”) conspire to pull these works back from greatness.

You know speed metal is really fucking good if I’m close to calling it Great, and Echoes of the Astrolith is almost great. Armory deliver an impressive salvo of cooler-than-you’ll-ever-be speed metal tracks embellished with blackened, deathened, and thrashened elements the likes of which are sure to set your blasters to kill. If you’re looking for something to jam while you scream directly into a space-bound dogfight with the enemy mothership, look no further than Echoes of the Astrolith!

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Rating: Very Good
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: Bandcamp | Official
Releases Worldwide: October 23rd, 2026

The post Armory – Echoes of the Astrolith Review appeared first on Angry Metal Guy.

Australian death metal purveyors Golgothan Remains have shared details and first single in what will be their third studio record. Dubbed Born From Darkness Absolute, it will land in stores November 20, 2026 through Dark Descent Records on CD/LP and digital formats. The 7-piece offering was mixed and mastered by Greg Chandler at Priory Recording Studios.
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Posted on October 22nd 2026, 12:39pm

The name Maledictus evokes the idea of being cursed, while their debut album, Lazarvs, speaks of rebirth. After leaving Seventh Storm, the musicians found the strength to start afresh through friendship and a shared drive to create. Over almost two years of songwriting, they shaped the record’s dark, heavy yet melodic sound, with new drummer […]

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Beast In Black have revealed a Katri Ilona Koppanen-directed music video for “Lost Children”, the next track from their upcoming fourth studio album Fear The Beast.
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