Since 2009, Archspire has aimed to be one thing above all else: extreme. With their upcoming release Too Fast to Die, they’ve once again raised the bar for what extreme music can be.“We’re like a bit of meth in your cigarette,” says vocalist Oliver Rae Aleron, describing the band’s unhinged live show. “I think people don’t quite know how to describe what they’re hearing.” Now five albums deep, the band continues to push the limits of speed and virtuosity whiles omehow keeping a sharp focus on hooks. Their music sits on a knife’s edge of “too much,” and just when you think you’ve hit overload, they drop in a soaring melody or a meticulously crafted clean section long enough for you to breathe; before throwing you back into a rap-flow vocal assault or some of the fastest drumming you’ll ever hear. In 2025, Archspire announced their new drummer, Spencer Moore, marking a shift in the band’s trajectory. New blood brings new influences, and with the first single Carrion Ladder, they intend to show exactly how quickly he proved himself. “I had to step my game up fast to pull off the new material,” Spencer explains. “But once we started tracking, everything felt comfortable and natural.” Recorded in 2025, the album reunites the band with world-renowned producer Dave Otero (Cattle Decapitation, Khemmis) for the third time. They locked themselves inside his Denver studio for several months, cutting out distractions and dedicating themselves entirely to the record. Too Fast to Die follows the critically acclaimed Juno Award winning Bleed the Future, and marks the band’s first fully independent release. Early in the writing process they chose to crowdfund the album, a strategy they’d used before;but nothing prepared them for the scale of what came next. They raised nearly $400,000 CAD in 30 days, blowing past their goal in under 24 hours and confirming that independence was the right move.“ I was actually shaking when I pressed launch,” says guitarist Dean Lamb. “We’d never taken on something this big, and all I could think was, ‘man, I hope we don’t mess this up.’” Too Fast to Die is set for release on April 10, 2026, and represents a new chapter for Archspire. Now fully independent and armed with a revitalized lineup, they’re intent on expanding their already rabid fanbase, pushing the boundaries of extreme metal, and having a great time doingit

The dead walk again! New York-based Undeath have returned from their mutilated tomb to horrify and dominate death metal’s insatiable masses once again. Their blessedly sick new album, It’s Time... To Rise from the Grave, shows the reconfigured quintet—Kyle Beam (guitars), Alexander Jones (vocals), Tommy Wall (bass), Jared Welch (guitars) and Matt Browning (drums)—have retained their mind-infecting sonic savagery but weren’t satisfied in their pursuit to improve it through wicked (yet studied) reformulation. Certainly, Undeath’s 2021 Decibel flexi, Diemented Dissection, paved the way, but it’s tracks like “Fiend for Corpses,” “Rise from the Grave,” and “The Funeral Within” that display Undeath’s terrifyingly insane trajectory. It’s Time... To Rise from the Grave isn’t just an early contender for death metal album of 2022—it’s destined to be a modern-day classic.   “Thanks to the pandemic, we had a lot of time to figure out what we were going to do,” says vocalist Alexander Jones. “We had a lot of opportunity to luxuriate in the writing process. We wanted to make the songs tighter. We wanted a more traditional approach to the songs—a verse/chorus/verse/chorus/bridge/chorus-kind of thing; like the title track to Lesions of a Different Kind. We didn’t just want one song to be that way, but all of them to have that approach. Every song needed to have a big chorus. We wanted infinite replay value. I’d like to believe we achieved that.”   Undeath formed in Rochester, New York in 2018, and eager to show their devotion (and chops) to the elder death metal gods, original trio—Beam, Jones, and Browning—charted a course out of the proverbial cemetery the following year with their first offering Demo ‘19. The same year, the ever-quick songwriters dropped their second demo, Sentient Autolysis, in conjunction with Tampa-based indie Caligari Records. Word spread quickly that Undeath were rolling out of the Empire State strong, much like their forefathers in Cannibal Corpse, Immolation, and Mortician infamously had decades earlier. Stoked on Undeath’s bludgeoning yet song-first creativity, Los Angeles-based Prosthetic Records inked the New Yorkers in 2019. The group’s debut album, Lesions of a Different Kind, pyosisified fans and ossified critics mere months later. Pitchfork complimented Lesions of a Different Kind by saying it was “vicious and nauseating,” while Bandcamp were caught up in the album’s “catchy, hard-hitting” songs. Clearly, Undeath’s tightly-wrought, skull-crushing death metal had struck a chord. “We are all excited about making music,” Jones says. “We’re stoked to be writing together. That’s why when we write, we do it early and often. We’re all students of Autopsy, Morbid Angel, Cannibal Corpse, and Bolt Thrower, to name a few. These bands are our north star. We love the way they approached their songwriting—it was always very hooky. We love classic, essential death metal, but we’re also into the more recent stuff, too. Bands like Fetid and Cerebral Rot. We sit in the middle ground, I think. We take inspiration from the past, the present, and make it our own. We want to serve the genre we love so much.” Musically, It’s Time... To Rise from the Grave was predominantly written by Beam, with bassist Tommy Wall contributing “Bone Wrought.” Astute listeners will hear vestiges of Morbid Angel, Carcass, Cannibal Corpse and more throughout. This isn’t appropriation though. This is homage. Undeath are resurrecting, re-arranging, and reanimating the aesthetics of death metal’s formative years, suffusing it with a contemporary take on memorability and efficiency. Tracks like “Defiled Again,” “Necrobionics,” “Head Splattered in Seven Ways,” and “Human Chandelier” are quick to kill. Guitarists Beam and Welch waste no time in establishing the knife’s edge, while drummer Browning and bassist Wall hammer-smash faces with brutal proficiency. Beam’s carnage-prone lyrics—as ferociously vociferated by frontman Jones—and Matt Browning’s gruesome cover art provide a profane platform from which Undeath launch. Every short-timed burst of song—they average three and a half minutes—from It’s Time... To Rise from the Grave is a tried and true deathly delight. “We thought about the things that make a really good record,” says guitarist Kyle Beam. “We knew we wanted songs that were good and were different from one another. Those two things were first and foremost. There’s different moods conveyed, too. I was listening to a lot of Judas Priest, traditional heavy metal really. There was a lot of what we were looking for in that, actually. That was hugely influential to the writing process on It’s Time... To Rise from the Grave. The songwriting was more refined this time, I think. Don’t get me wrong though. This record is absolutely death metal. There’s no denying that.”   Undeath traveled to Philadelphia to record It’s Time... To Rise from the Grave with Scoops Dardaris at Headroom Studios in March-April 2021. The group spent two weeks tracking—a song a day almost. Dardaris rough-mixed on the fly during the recording sessions, and then required two more weeks after to finalize the mix. Not ones to sacrifice a working team, they brought on Arthur Rizk (Creeping Death, Enforced) to master. The sonic goal was to get a frenetic, nearly off-the-rails production, but with a discernible, if slightly lived-in line through it. Think: Cannibal Corpse’s Vile (Scott Burns) mixed with Carcass’ Necroticism – Descanting the Insalubrious (Colin Richardson). “Scoops recorded Lesions,” Jones says. “He’s a stable, reliable, and talented engineer. He’s great at what he does. We were super-satisfied with the sounds he got on Lesions. When it was time to record It’s Time..., we knew we wanted Scoops again. It was awesome working with him. I’m a vocalist who likes to go over everything line by line. I wanted everything to pop. He was so patient with us. Scoops is amazing! We also knew all along that we wanted Arthur to master the record. We’re big fans of everything he does.” In four years, Undeath have done the unlikely. They have two celebrated, oft-streamed demos, a coveted Decibel flexi disc, two brutish videos (“Acidic Twilight Visions,” “Entranced by the Pendulum”), completed a riotous 30-date American tour mid-pandemic with The Black Dahlia Murder, and released a fan-obsessed full-length in Lesions of a Different Kind. To stop now would be contrary to Undeath’s diehard, work-hardened ethos. Indeed, they’re forging ahead. It’s Time... To Rise from the Grave undoubtedly levels up Undeath. The New Yorkers are the vanguard of the next wave of hard-hearted American death metal. Join the undead army now…march or die completely!

With a unique combination of tech, core and death elements, Crown Magnetar emerged in 2017 showcasing technical riffs, relentless blast beats and crushing yet dynamic vocals. They released “The Prophet of Disgust” EP in 2018 and released their debut full length entitled `The Codex of Flesh` on April 30th, 2021.