Review by Adam M on March 31, 2026.

This was an exciting new entry into the Exhumed catalogue that is justifiably heavy and very vicious in nature.  It is also quite powerful and has a very characteristic sound to it that is perhaps a new Carcass in some form.  It is scathing and has a scalpel like feeling to it that gives it some charisma.  This is one of the more raucous albums the band has done.

Musicianship is fairly good with a good production job and very thick and aggressive riffs.  The whole thing is quite melodic as well with an eye for being somewhat of a new Heartwork incarnation.  It is easily one of the finest efforts from the band, but still comes up a bit lacking when compared to some other newer records like Karnivool’s In Verses.

The problem I’m having with the album is that compared to a lot of other recent excellent albums it comes up a bit short.  It is still aggressive and consuming, but not as compelling as some of their other works like Anatomy is Destiny.  Still fans of the band will find a lot to like here as it a consistently fun and playful release.

The album is solid and one of the better death metal albums released recently.  It is very heavy and addictive and will become ingrained in your memory.  The whole thing is nicely produced and has a potent sound that is very interesting and has a huge impact on the listener. It is not the best death metal release ever, yet is very solid.

Rating: 7.3 out of 1-

Review by Jeger on February 13, 2026.

Overlooked, underrated… Exhumed! Putrid Gorehogs and proprietors of true American Death Metal. Frontman, Matt Harvey, boasts a supreme Death Metal IQ, and having been at it since 1996, he has put it to good use. Exhumed's discography? Looks more like a Black Metal catalogue than your typical DM album list: demos and splits galore. And it has not been time that has tested Exhumed, but they of it, as every Exhumed album is of the timeless variety; standing boldly in opposition of modernity. Release it 35 years ago! Or drop it today, doesn't matter, because true Death Metal is ageless, just like Exhumed's forthcoming ear-raping opus, "Red Asphalt", scheduled to drop like a tire iron through your fat head on February 20 via Relapse Records.

Exhumed just arrived a little late on the scene, or else they'd be soaking up as much notoriety as some of the heavyweights of the genre: Cannibal Corpse, Obituary and Deicide. However, there's the reality of the fact that Exhumed has remained unwaveringly, 100% centered down true BM's pathway since the beginning and on through today while those aforementioned do whatever it is they're doing these days, which isn't real Death Metal. Massacre, Autopsy and of course Exhumed are more like it. And with "Red Asphalt", there is no technical mumbo-jumbo, no dorky progressive shit or core-infused breakdowns. The mood is unsettling and the lyrical content is disturbing. The title-track sounds and feels all choppy and brutal in the vein of "Necroticism" (Carcass), while the following track, "Shock Trauma", races along to blast-beats and guitar riffs/bass lines that rip like shattered windshield glass through tattered flesh and mow you over like a Semi. A celebration of all the most macabre realities of the road is "Red Asphalt", and set to no bullshit Death Metal.

No need for pretense or gaud. "Red Asphalt" delivers ten cuts, not one of them reaches the five minute point, because the business at hand is death and death awaits no one. We're here in this place where road rash is like a hand job and the only thing to bear witness to are scorched corpses and highway wreckage for miles. Matt Harvey and Exhumed are proving once more that there's a huge difference between classicism and status quo. The former is an attribute that is understood over time and through the development of one's deep understanding of Death Metal. The latter is simply settling for mediocrity.

Midway through, you'll find yourself at the mercy of "The Iron Graveyard" - a mammoth steamroller of an album cut that that plows you through blast-beats and choppy riffs like that fantasy you have of running your boss over in the parking lot; skull popped and pothole filled with cranium soup… Every phase is as important as the next from the crunchy bass line during the intro to "Crawling From The Wreckage" to the mix, which is stellar - a masterful blending together of all instruments into an all-enveloping blood-soaked sonic tapestry.

Hooded Menace is another band that I can't help but be reminded of here. Both bands have an identical ear for melody and during some parts of "Red Asphalt", the speed is dialed down a bit; resulting in similar Doom-like riffs out of Exhumed along with a myriad of varying percussive onslaughts and therein no shortage of unpredictable moments, yet there's this sense of warm familiarity to every track that hearkens back to those late night romps through the corner Record Shop with your non-poser brothers in arms. With "Red Asphalt", Exhumed has quietly released what will go down alongside Paganizer's "As Mankind Rots" LP as one of the year's best Death Metal albums. So, why don't you have a few tall ones and drive home, or text and drive, better yet, get some road head; anything you can do to possibly cause a major accident. And put on some Exhumed while you're at it…

Rating: 9 out of 10

Review by Felix on February 16, 2026.

The Force is back. "Haneda", the fourth album of Cruel Force, is in a difficult situation. Two of its big brothers, namely "Under The Sign Of The Moon" and "Dawn Of The Axe", have set the bar almost too high. And yes, the band has managed to modify its style after the long hiatus without offending the black thrash community. The symbiosis of archaic metal elements, a lot of high velocity sections, flair of the eighties and typical genre lyrics made up for the almost complete absence of black ingredients on "Dawn Of The Axe", but what will be the next step? The promo babbles again about Rainbow and Dio, but with all due respect to Ronnie James (R.I.P.) and Ritchie B., I don't want to listen to this kind of rock or metal when it comes to a Teutonic underground legion. Okay, a cool classic solo like the one in "Titan's Awakening" is welcome, but generally speaking, Ronnie and Ritchie should stay at home. "Vielleicht das nachster Zeit", as Rainbow said in their very own form of the German language.

All-clear: "Haneda" does not deliver an inappropriate approach. Malicious tongues might say the album is nothing else but part two of its predecessor. Indeed, izts general configuration with a mix of high speed rockets and more epic / experimental tracks is more or less the same as before, but as long as they deliver absolutely fascinating material, I have no problem with a continuation of the success formula. Nevertheless, "Haneda" has to struggle to meet "Dawn Of The Axe" on an equal footing. It's about nuances that can make a tiny difference in quality. Already the intro "The Cross" is absolutely okay and opens the curtain gracefully, but the extremely cool western feeling of its personal predecessor remains untouched. No big deal, I know. On the other hand, this time the vinyl's B side is kicked off by a regular track. Despite its playtime, the musically rich, almost prodigal "Warlords" is no slightly progressive number. Regardless of its different facets, it joins the ranks of the pretty straight, very fast and admirably energetic pieces that shape a big part of this sonic refuge. If I would have had the outstanding degree of energy of their songs, I would have been an Olympic athlete 35 years ago. But bad luck, already the permanent sports during my military service were a challenge. Okay, next topic.

"Haneda" holds a lot of vital material, always driven by the uncrowned king of excellent fill-ins. GG Alex at the drums lets his sticks fly over the toms and makes the best use of stereo effects for listeners with only two ears. But all of the guys do a great job. Carnivore's voice is not the most expressive one in the German underground scene, but he finds a direct way to the listener and he avoids all things he probably cannot perform very well. So do not expect theatrical or melodic vocals, but a no frills approach with lyrics about war, legends and Gods which fits the musical content brilliantly. Cruel Force race through their compositions with almost no chance for the listener to take a breath. Yes, the instrumental at the end of side A shows the pretty mild face of the band and honestly speaking, it should shy away from comparisons with the other tracks of the album. But this remains an isolated case. "Sword Of Iron", "Titan's Awakening" or "Whips-A-Swinging", these are the names of the songs that characterize an album which is filled to the brim with compact high-speed neckbreakers. Cruel Force act straightforwardly, they have a clear vision and do not seem to be interested in compromises. Breaks like the one in "Whips-A-Swinging", where an edgy guitar line seems to disturb the overwhelming flow of the song, turn out to be another great feature. Not in terms of style, but with respect to quality, Slaughter's song-writing talent follows the dogma that only the sky is the limit and we profit from his talent a lot. And I haven't yet mentioned the absolute best songs of "Haneda".

So it is time to put the spot light on the title track. Frankly, I expected a more or less epic and majestic finale when I saw its playtime of more than nine minutes. Wrong thought, "Haneda" (the song) stands for stylistic continuity. Fast, straight and lively verses show the band in its best form, and the non-commercial yet catchy chorus is in no way inferior to this. The instrumental part gives Slaughter the option to create some more or less solemn melodies, but everything goes hand in hand and so this song leaves no questions open. It justifies each and every second of its nine minutes. The second track that fulfills the highest expectations is "Savage Gods". It is not just a prototype high speed number, one of those which are typical for Cruel Force since their return. It is also a perfect combination of rapid verses with unexpected, highly effective melodies added and a deadly bridge that results in a merciless chorus. You say you can write a better number in this style? Please record and release it and I promise that I will give a higher rating than it is allowed.

Coming to the end, I may not forget to mention the absolutely flawless production. "Haneda" sounds neither over-produced nor does it lack impact. It holds just exactly the listening experience that one wants to get when it comes to an album of "modern" Cruel Force. So only one question remains: who or what is Haneda? At first I thought they write due to whatever reason about the airport in Tokyo (remember Riot's wonderful classic "Narita" from 1979). But this does not seem to be the topic here. Anyway, Cruel Force have released two totally captivating albums since their comeback without losing any iota of their authenticity. Despite the outstanding song material, maybe this is their greatest achievement. Long live the Force.

Rating: 9.1 out of 10