FOR IMMEDIATE RELEASE
Spitfire Devours the Light with Latest Thrash Assault
Germany’s Spitfire has officially unleashed their latest record, Devour the Light , via Witches Brew, proving that thrash metal still bites as hard as ever. Available now on CD and set to hit vinyl on April 24, 2026, the album cements Spitfire’s reputation for ferocious riffs and relentless energy.
The lineup of R. Motörizer (vocals/guitar), D. Bolz (guitar), S. Moch (bass), and Thunder Manne (drums) delivers four tracks of pure thrash carnage:
Tracklist:
1.Devour the Light
2.Disregard
3.Spitfire’s Down (New Version)
4.Bomber
Mixed and mastered by Luke Becker and Phil Schimpgen, with artwork by Janosch Rudigier, the album balances raw aggression with razor-sharp clarity.
Devour the Light is streaming now and ready to scorch through your speakers:
https://witchesbrewthrashes.bandcamp.com/album/devour-the-light-2
Spitfire doesn’t just play metal—they annihilate it.
Press Contact: zach@metaldevastationradio.com
Connect:
BAND LINKS:
Facebook: https://www.facebook.com/spitfirespeedmetal/
Homepage: http://spitfire.band
Instagram: https://www.instagram.com/spitfirespeedthrash/
LABEL LINKS:
Shop: https://www.witchesbrew.eu
Bandcamp: https://witchesbrewthrashes.bandcamp.com
Instagram: https://www.instagram.com/witchesbrewthrashes/
Facebook: https://www.facebook.com/witchesbrewthrashes
Contact: rico_stoeckle@web.de
Blog
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Archspire – Too Fast to Die Review
After no less than three albums’ worth of glowing praise from my great predecessor Kronos, it’s safe to say that a new Archspire is a big deal in the hall.1 One blistering offering after another has cemented these lads as among the forerunners of tech-death, pushing BPM and bass-string structural integrity in equal measure. But the human body, alas, has limits, and with previous release Bleed the Future already pushing the speedometer well into the red, one could be forgiven for invoking the oldest of clichés: Where do they go from here? There’s only so much speed, so much scale wankery to be derived from mere flesh and bone. With a bit of a self-referential title in Too Fast to Die, Archspire have made their mission statement clear and concise; will their meteoric rise continue to light up the sky, or will their first independent release see them crash and burn? Archspire have officially been around long enough to say “Expect the expected.” Too Fast to Die continues the band’s whirlwind musical trajectory, with an emphasis on scorching tempos and arpeggios delivered at string-withering pace. New drummer Spence Moore (formerly of INFERI, among others) plays like the lives of his family depend on it, etching his identity into the music with a smorgasbord of snare fills and delightful rhythmic shifts which somehow manage to maintain a blasting pace without ever smearing together into one double-bass-filled haze. Vocalist Oliver Aleron continues to sound pulled from an alternate universe where Atilla doesn’t suck,2 spitting syllable-heavy diatribes with gleeful abandon and an s-tier talent for phrasing which lets him compliment the intensity rather than overwhelm it. Enough breathing room is given to the bass, letting Jared Smith fill in the cracks with sweeps that rumble and clang under the chords with vibrancy and potent kinetic energy (“Red Goliath”) before disappearing back under the assault. Everything is excellently executed, engaging, and familiar.
And yet, there is a clear rumbling of growth and evolution in the Archspire camp. Rather than openly go out of their way to crank all the knobs from 11 to 12, Too Fast to Die puts heavy stock on pathos-riddled melody, with a heavier leaning on atmospheric theatrics and amphitheater-ready harmonies which don’t seek to overwhelm as much as invigorate and inspire. Album highlight “Carrion Ladder” features a midsection with a pair of leads so relatively simple a fledgling guitar student could learn to play them, yet thanks to the band’s compositional mastery, this simplicity isn’t an anticlimactic letdown as much as a genuine moment of appreciable, raw beauty, not to mention it features one of Oliver’s catchiest vocal parts. Such moments are littered throughout the album, with the borderline emotional chug section of “Limb of Leviticus” transitioning into the band’s traditional plucked interludes with melancholy rather than neo-classical sheen. Archspire’s interludes in older albums would have sounded just as appropriate if played by harpsichord as much as guitar, but Too Fast to Die eschews just a touch of that dual identity to place a heavier focus on thematic coherence with massive dividends.
Nevertheless, this is still a death metal record, and any gushing over emotive power and atmospheric bombast shouldn’t frighten away fans. “Liminal Cypher” features an absolutely devastating slamming section, and “Deadbolt the Backward” briefly dispenses with the atmospheres and opts for sudden shifts of waltz time signatures and straightforward brutality akin to Deeds of Flesh covering an Origin song. The most tendinitis-inducing of leads kick down your front door in “Anomalous Descent” only to suddenly shift identities and flirt with the briefest of hardcore stylings while putting an exclamation point on the proceedings with honest-to-goodness gang vocals. Somehow, this works. While Archspire haven’t quite gone prog on us with clean vocals and a litany of guest instruments (thank God), it’s delightful to see them stretching their artistic wings in so many directions and skillsets, despite promotional material perhaps pitching them as a one-trick pony of speed.
I haven’t been as high on Archspire as some of my colleagues. I enjoyed them, but felt such a style could only be mined so much. Too Fast to Die is Archspire commanding me to take those opinions and violate myself with them, track after track after track. This album sees the band embracing their not-so-newfound star status and offering an experience that is riddled with crowd-engaging moments, meticulously engineered pit fodder, and leads of such beauty that you could sing them in the shower, without sacrificing an ounce of the Africanized-bees-on-red-bull songwriting backbone. “Where do they go from here?” I wondered? Well, the answer is “bigger and better”, and if we are entering a new era of grandiosity over raw technique, I’m so here for it. You should be, too.
Rating: 4.0/5.0
DR: NA | Format Reviewed: Yet another stream, come on, guys
Label: Self-release
Website: Album Bandcamp
Releases Worldwide: April 10th, 2026The post Archspire – Too Fast to Die Review appeared first on Angry Metal Guy.
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Album Review: Levels – This Will Make You Feel Again
Album Review: Levels – This Will Make You Feel Again
Reviewed by Matthew Williams
In my quest to seek out new and interesting music that takes me beyond my comfort zone and into unchartered territories, I stumbled upon the latest release from Arkansas four-piece Levels, a relentless crushing machine who refuse to be pigeonholed.
Consisting of vocalist Kolby Carignan, guitarist Jager Felice, bassist Jacob Hubbard and Dalton Kennerly on drums, their music combines elements of metal, pop, drum n bass and dance music, all wrapped around some seriously heavy riffage. The album begins with “Blue Heaven” and has a pounding electronic beat that sounds futuristic as it builds up to the drop, with the vocal mix going from calm to explosive with the greatest of ease.
Whereas the intensely aggressive “Godlike” just goes off from the beginning with rapid drums and guitars, pausing momentarily before the madness continues throughout. There’s the softer vocal and pumping dance beat of the introduction on “Death Dance”, before they detonate the music with full on metal fury. When the beat drops, my reaction is a happy face, as it fills me with joy, exactly what music should do.
As Kolby says, “we don’t create songs, we create experiences” and this is one band who are seemingly intent on pushing you to your limits, and then beyond. “Black Dove” has that same amount of experimentation, as it gives off early Linkin Park vibes, and the juxtaposition of the vocal range is now in full flow. However, it’s the slower environment that stands out for me, as you can hear the melody and a more soulful, tender approach, which “Fume” emphasises before they attack your senses once again.
“Fragile” sees the band embrace their poppier side, and at first it surprises me, but then it kicks into some sort of Ibiza dance tune, and I’m out of my seat again. It’s a 2am club anthem that leads seamlessly into “Feel” which sees a drum n bass line come to the fore, before the mayhem comes back with “Covert One”. This will grab people’s attention, with the frontman saying that their “main priority is to make you feel something” and they’ve achieved that.
Levels take you on an emotional journey, tinged with dark industrial noise and with “Strange Things” it all culminates in a brutal track that will leave your body aching for more. The music is purposeful and stubborn, as they are on a mission to change the terrain with their punishing soundscapes. They finish on a high with “The Grave” as they take you on one final musical journey of moody introspective notes fused together that embraces the here and now as well as the future.
The post Album Review: Levels – This Will Make You Feel Again appeared first on The Razor's Edge.
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“There was an old fella who screamed that we’d been sent by Oliver Cromwell. He jumped on the bonnet of the car and tried to boot the windscreen to pieces.” Not everyone was pleased to see The Rolling Stones on their first Irish tour
“We’ve heard it said that this long hair makes you look like women” -
Graphic Nature – Ink Deal With Century Media Records
British formation Graphic Nature proudly announce the signing of a new contract with Century Media Records and concurrently unveil a brand new single/video, “Faceless”.
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Crimson Glory – Present New Song
As the release of their new album Chasing The Hydra, the first one in long 26 years, slowly approaches, Crimson Glory have shared another new single “Beyond The Unknown”.
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Welcome To Rockville Reveal Set Times For 2026 Festival
Welcome To Rockville have put together one of the best line-ups you will see this year, and now you know what time these legendary sets will be taking place.
The 15th anniversary edition of the festival will take place between May 7-10 at Daytona International Speedway in Daytona Beach, Florida.
From headliners Guns N’ Roses, Foo Fighters, Bring Me The Horizon and My Chemical Romance to the likes of Turnstile, Parkway Drive, A Day To Remember, Rise Against, Yellowcard, The Offspring, Ice Nine Kills and many MANY more, it’s going to be an incredible weekend.
That’s without mentioning rare appearances from the likes of The Ready Set and Coal Chamber, hometown shows from Not Enough Space and Magnolia Park, and anniversary performances from Sleeping With Sirens, Dragonforce, Saliva and more.
Basically, it’s going to be massive.
Check out all the times that you need to know below. Festival passes are available now from welcometorockville.comThe post Welcome To Rockville Reveal Set Times For 2026 Festival appeared first on Rock Sound.
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Why Did Bob Dylan Change His Voice for ‘Nashville Skyline’?
There was a noticeable difference on his country-inspired eighth album. Continue reading… -
Johnny Marr Joins Pet Shop Boys For Some Oldies They’d Never Performed Before
UK legends Johnny Marr and the Pet Shop Boys go way, way back together. According to a 2009 Guardian story, Marr met the Pet Shop Boys by chance in a Los Angeles hotel elevator in 1987, just after he left the Smiths, and he told them how much he liked their song “Hit Music.” PSB singer Neil Tennant appeared on “Getting Away With It,” the 1989 debut single from Electronic, Marr’s post-Smiths duo with New Order’s Bernard Sumner, and on a few other Electronic tracks. Marr has played guitar on a great many Pet Shop Boys records, going all the way back to 1990. And on Wednesday night in London, Marr joined PSB to help them perform a few total obscurities.
The post Johnny Marr Joins Pet Shop Boys For Some Oldies They’d Never Performed Before appeared first on Stereogum.