In 1995, DYING FETUS self-released, promoted and distributed their first album, ‘Infatuation With Malevolence.’ In support of the album, the band toured the Eastern U.S., including a high-profile performance at the CMJ Music Convention at New York’s Lincoln Center. DYING FETUS also represented death metal as a genre on a panel at the convention.
In 1996, DYING FETUS‘ second album, Purification Through Violence was released simultaneously in America on Pulverized Records and in Europe on Diehard Music Worldwide. The band immediately embarked on their first full North American tour, hitting 25 cities with Canada’s KATAKLYSM and Florida’s MONSTROSITY. The response to the band’s unreal live show was astounding and the DYING FETUS name began to take residence in the minds of metal heads everywhere.
1998 saw the release of DYING FETUS‘ third album, Killing on Adrenaline on both Germany’s Morbid Records and in the U.S. through the band’s own label, Blunt Force Records. DYING FETUS embarked on unprecedented 52-date North American/European tour, hitting 12 countries in the process- from Denmark to Spain and Belgium to Poland. The band performed at dozens of festivals, including co-headlining shows on the Morbid Metalfest, as well as the Superbowl of Hardcore. During this time, DYING FETUS continued to make a name for themselves, appearing in national and international magazines, placing tracks on dozens of compilation CDs, and consistently doing radio and internet promotional activities. All on their own accord.
In 1999, DYING FETUS reissued the out of print ‘Infatuation with Malevolence’ CD (their 93-94 demo collection) with extra tracks via their own label, Blunt Force Records. The new version contained three live songs recorded on the 1998 European tour, as well as one demo track not included on the previous edition of the disc.
Looking to expand their scope even further, DYING FETUS signed to Relapse Records in early 2000 and immediately hit the road for a U.S. tour with DESTRUCTION and KATAKLYSM. The band re-issued their Grotesque Impalement EP, a collection of old material and covers before completing work on their first Relapse album ‘Destroy The Opposition’. A musical mugging aimed at corporate “rock,” ‘Destroy The Opposition’ was a brutal response to the everyday stress and pressures of reality in today’s age, providing a natural outlet for the alienation and frustration that such a pathetically consumer-oriented and greed-dominated society creates. The record was an immediate success and the band hit the road, touring internationally in support of the album for the next 16 months. In 2012, the album went on to receive Decibel Magazine’s prestigious Hall of Fame honor.
After almost three years DYING FETUS returned with Stop At Nothing in 2003. Symbolically representative of the greater alliance of anti-mainstream death metal/grindcore/hardcore-punk scenes, DYING FETUS stand in direct opposition to what is considered “normal” in the overwhelmingly conformist American musical arena. The band quickly hit the road in support of Stop At Nothing completing numerous North American and European headlining tours as well as delivering stand-out performances at international metal festivals.
Since then, DYING FETUS has been on a path toward supremacy, destroying everything in their path while attracting more loyal followers with every step. 2007 saw the release of War of Attrition, which found the band touring with CANNIBAL CORPSE and label-mates NECROPHAGIST. This release was followed by Descend Into Depravity, the 2009 masterpiece which led to numerous headlining tours in North America and abroad, including the band’s first ever appearances in China and Southeast Asia.
On June 19th 2012, DYING FETUS took their biggest leap yet, with their earth-shattering album Reign Supreme. Long-term fans rejoiced at the band’s consistency and critics lauded the band’s unparalleled musicianship, with Heavymetal.about.com raving that “Dying Fetus are at the top of their game with this record, which is sure to thrill old fans and gain them even more new ones.” With Reign Supreme, arguably their heaviest release yet, it is clear why the band has been hailed as “one of the most dominating forces in death metal,” and why they were booked to play the UK’s infamous Download Festival almost purely on a fan campaign via Facebook and Twitter. Anything less than total supremacy is simply not an option for this band.
Now in 2017, DYING FETUS once again raise the bar of sonic extremity with their 8th studio album and first new material in over 5 years, Wrong One To Fuck With. The seasoned veterans manage to further stretch their creative and technical boundaries across 10 complex tracks of pulverizing death metal, filled with more dynamic intricacies, brutal breakdowns and varied vocal patterns than ever before. Now over 25 years into their distinguished career, DYING FETUS cement their legacy with Wrong One To Fuck With and uphold their position as the most dominant force in death metal today.

Underground. Where else would you expect to find the true blood and guts of the extreme metal scene? The filthiest, most brutal bands dishing out the most intense punishment are here, unfettered by here-today-gone-tomorrow trends or the temptation to conform to some notion of what a metal band should be. Suicide Silence, an astonishingly well-developed five-piece from Riverside, CA, are a true product of that always thriving underground, a band single-mindedly focused on creating rabidly heavy and aggressive music. Suicide Silence started in late 2002 as a side project for its members who were all involved in other local bands at the time. Things didn't get serious, however, until 2004, when the current lineup was solidified. "Early on we were slower and sludgier," explains drummer Josh Goddard, "but through a few member changes the sound became more powerful and energetic." This mix of musicians brought together their influences (death metal, grindcore, black metal, hardcore, doom) and combined them into songs that are complex without being mystifying, and savagely fast and explosive without becoming a featureless blur. Their debut 5-song EP for Third Degree Records is a brutal testament to the sort of damage Suicide Silence is capable of inflicting. Though definitely rooted in what Goddard calls a "fast-paced death metal style," it defies that genre's sometimes predictable conventions, striving instead for something more unique. The songs are dynamic and crushing, shifting effortlessly from insane grind chaos into total molten sludge, with plenty of dynamic twists and turns along the way. Vocalist Mitch Lucker screams, growls and grunts over an ungodly guitar assault, while the band's surgically precise rhythm section handles the disorienting time signatures and snail-paced grooves with equal efficiency. Suicide Silence may be a product of the burgeoning metal underground in the U.S., but their goals are far from modest. Without pandering to trends, or riding some scene's coattails, the band always wants to move forward, wherever it takes them. "We never want to stop improving as a band, as individual musicians, as songwriters and as performers," says Goddard. "We want to make sure that every album we put out and every show we play is better than the last."