Archspire – "Too Fast to Die"

It's not "Too Fast For Love", but it's still pretty tight.

When I was first introduced to Archspire around the release of their previous album "Bleed the Future" ('21), I was blown away. Being completely unfamiliar with them up until then, here came a band seemingly out of left field and, among all possible genres, took fucking brutal, technical death metal to a new level. And not just in terms of BPM, but also in terms of the technical skills of each individual member.

Granted, this is not a band – or, indeed, a genre – where listening to an entire LP from A to Z is less than a demanding experience. However, if not necessarily a rewarding experience, then "Bleed the Future" was certainly a mind-expanding one. And at the risk of spoiling anything upfront, and even in spite of what one might be led to believe, given that utmost tongue-in-cheek title, "Too Fast To Die" might have just one-upped its predecessor.

When dealing with a band and/or an album like this, it's not necessarily easy to know where to begin. Good thing, then, that we can always move forth chronologically. Even the melodic intro in opener "Liminal Cypher" seems a bit more focused than last time. Even as everything explodes in a pummelling inferno of menacing riffs and otherworldly blasting drums, this is the sound of masterfully controlled chaos.

It's not until vocalist Oliver Rae Aleron enters that things get kicked into that decisive next level. The man sounds not just like a monster, but as something much more maniacally-monstrous than any other growler – except perhaps those really basement-deep ones. As I understand it, he's been practicing that circular breathing technique so he can keep on firing those rapid demonic locutions indefinitely. And shit, sometimes he does inhaled pig squeals. If you haven't heard the album yet, just sit with that thought for a moment.

I'm getting clear hints of Psycroptic here. But while they were the most wicked thing I'd ever heard in terms of technical brutality back when I found them, Archspire has long taken that place. And they are hereby solidifying that position.

However, if Aleron could be said to be the joker up the band's collective sleeve, the exact same thing could be said for new drummer Spencer Moore. When I heard that Archspire had parted ways with Spencer Prewett, my initial reaction was doubt that they might find someone who could at least match him. But Moore does that and (sorry) more. Not only is his tempo at least up to the extraterrestrial par; his frenzied barrage of rolls, runs, and all-round details proves him to be equally creative, equally fucking machine. And the guy's only 32 goddamn years old. I'm not even a drummer, but I still feel humiliated here.

In "Red Goliath", both the guitars and the bass are doing so many things that it's impossible to keep up – even after several spins. And of course there's a short bass break, and the bass sound is super fucking crispy. In spite of all its cacophonic surroundings, it actually stands out fairly clearly most of the time, which is more than you can say for 9 out of 10 death metal albums. However, it is not until that manic little guitar theme upon Aleron's wonderful a cappella intro in "Carrion Ladder" that the guitar seriously stands out. However, this is also due to it being a bit too low in the mix, which is a bit of an imperfection.

Indeed, even though both the riffs as well as the many runs and arpeggios are completely insane even compared with a lot of other death metal, the guitars are perhaps the least insane element here. Adding to this impression, however, are also the many melodic fanfare leads that often act as a unifying, anchoring element in several of the songs. As suggested before, the melodic element seems more focused than on the predecessor, and this impression lasts all the way throughout.

And adding to this is that many of the chord progressions, as well as even the riffs, seem to be completely diatonic. In fact, things are so melodic that it's a good thing that the vocalist doesn't start to engage in clean singing – even in spite of all the brutality here, that would bring everything in danger of wimping out. In "Deadbolt the Backward", the initial tonal figure is, indeed, liberatingly dissonant. And you would not believe that bass figure. This track is probably the most all-round representative of the album as a whole – it's got a bit of everything. However, this also includes a harmonic minor tonality which becomes a bit too much around this point. If I wanted to listen to melodeath, I'd put on some old In Flames or At the Gates.

As everything explodes in a pummelling inferno of menacing riffs and otherworldly blasting drums, this is the sound of masterfully controlled chaos.

Please note, however, that this is a kind of music where virtually any element is in danger of getting a bit too much. During the previous track, "Limb of Leviticus", perhaps featuring both the sickest bass and ditto drums, the latter seemingly blasting in fucking 64th notes, the brutality itself simply becomes too constant. But while this may make for less impact, it does not make things any less impressive.

For mere mortals, this music is simply mentally unmanageable. I'm getting clear hints of fellow tech-deathsters Psycroptic here, but while they were the most wicked thing I'd ever heard in terms of technical brutality back when I found them, Archspire has long taken that place. And they are hereby solidifying that position.

And furthermore, while aforementioned track may very well be the most savage so far, this is only because the band has saved the, quite possibly, most awe-inspiring round of systematic beatdown for last. Indeed, the concluding title track may very well be the fastest one here – quite possibly thus titled. While those arpeggios may be naturally diminished, that diminution gives them an intense attitude. And as Archspire hurl themselves into irregular verse meters, I am left wide-eyed and slightly overpowered. I can't keep up anymore here, you guys.

I have used the word 'machine' before in this review, but it merits repeating, because it goes for the entire goddamn band. And come to think of it, I'm pretty sure I used it in my review of "Bleed the Future" as well.

Rating: 5 out of 6

Genre: Tech-death
Release date: 10/4/2026
Label: Unsigned / independent
Producer: Dave Otero

Thanks for reading.
If you liked this review, you can support a metal brother by buying me a coffee.