#exhumed — Public Fediverse posts

Wednesday, August 12, 2026

https://activitypub.writeworks.uk/2026/08/wednesday-august-12-2026/

Don't feel like going outside in that heat? Let's go back to mid April and the comforting darkness of #littledevil in #tilburg when #gruesome and #Exhumed unleashed their #deathmetal tunes. https://www.youtube.com/watch?v=rI_K-qStbGo&list=PLmn2ED1LqEvDVV9SVwparRnnwbQk6bYl4

There’s nothing like a #deathmetal gig on a Monday evening. #gruesome started as a #death and #chuckschuldiner worship band and established itself as a force to be reckoned with. #Exhumed is a leader of the #goremetal sub-genre. Both bands kill, are great fun to see live and luckily for us dropped by the #littledevil in #tilburg for a sold out, fully packed gig. We want more!

Unfortunately, the mighty Relapse stable now floats down the shitty stream for promos. As such, we are slow on the uptake with the latest platter of splatter from legendary underground gorehounds, Exhumed. Always searching for fresh inspiration for their deathly brand of precision butchery, tenth album Red Asphalt channels inner road rage via good old carmageddon mayhem and vehicular violence as its overarching conceptual theme. Otherwise, it’s business as usual for Exhumed, returning with a tight, signature blast of groovy, thrashy, blasting deathgrind, led by seasoned underground warrior Matt Harvey (guitars/vocals). Joined by right-hand man Ross Sewage on uber low vox and bowel rumbling bass, alongside drummer Mike Hamilton (Deeds of Flesh) and guitarist Sebastian Phillips (Castle Freak, Mammoth Grinder, End Reign). Red Asphalt marks their first album since 2022’s solid and well-received To the Dead, a welcome return for these ever-reliably vicious brutes. With a high reliability factor baring well for a good arse kicking, how does Red Asphalt fare against a bulletproof modern run of albums since their second coming on 2011’s All Guts, No Glory?

Kicking off with the blistering “Unsafe at Any Speed,” Exhumed pull no punches in a typically exuberant, brutal yet wickedly infectious style. The riffs rip and burn with reckless abandon, drums set a scorching tempo, while the dueling vox, trade-off solos, and gut-punching grooves land vital blows of awesomeness. It feels familiar yet fresh and the right amount of pungent. Striking a balance between the sharp melodicism and grooving charms of modern classic Necrocracy, mutated with the blunt force savagery of Horror, and a dash of the more primitive goregrind stylings of their early days, Red Asphalt finds Exhumed subtly tweaking their formula to remain vibrantly dangerous deep into their career. Through modern refinement and sharp, technical execution, Exhumed maintain their gritty, no-frills edge and slick but organic sounding production, while the grindy, blast-riddled attack and sick dual vox ensure these old dogs still pack a brutal, unhinged punch.

Careening recklessly from one gnarly, adrenaline-fueled incident to the next, Exhumed mostly jam the gears high and slam the pedal to the floor, weaving twisted cables of melody through mangled wreckages of deathgrind mayhem and gore-soaked grooves. “Red Asphalt” unleashes thrashy uppercuts and Heartwork-inspired melodeath flair to killer effect. More measured cuts (“Shovelhead,” “Death on Four Wheels”) detonate slower, crushing devices, bloodied riffs, and dicing solos to slamming impact. When Exhumed are not grinding and pummeling with deathly intent, their thrashy tendencies take hold, offering a trademark punky, turbo-charged counterpoint on numerous high-octane scorchers (“Shock Trauma,” “The Iron Graveyard,” “Symphorophilia”). “Shock Trauma” deftly incorporates screaming, emergency siren solos into an explosive barrage of searing deathgrind battery, showing Exhumed can still blast and brutalize with the best of them.

Performances are uniformly tight and deranged, Harvey again proving an elite riff meister, sharpening his tools of the trade to whip up a frenzy with Philips, including a generous bounty of killer, infectious riffs and tasty, slashing solos. The shredding is top-grade stuff, adding a wild and reckless melodic edge to the album (check the ripping axe pyrotechnics on “Death on Four Wheels” and “Crawling from the Wreckage”). Vocally, Harvey and Sewage sound as savage as ever, forming one of the best dual vocal combos this side of Dying Fetus, albeit a gentle push forward in the mix would have been welcome. At a taut thirty-seven minutes, Red Asphalt blasts by in an efficient, addictive fashion, by the time “The Fumes” engulf your senses to close out the album. Aside from a couple of stock moments, Exhumed’s songwriting sounds energized and inspired, nearly thirty years since they dropped their debut.

Red Asphalt stands up to scrutiny as another high-quality modern platter to add to Exhumed’s ever-impressive repertoire. Exhumed rarely miss, testament to their dedication and skilled craftsmanship in remaining a bulldozing force in the modern death metal arena, carrying the Carcass-inspired torch, yet transcending the influence of their forebearers. Exhumed’s timelessly fun and feverish brand of old school brutality, filtered through a modern lens, and packed with sharp riffs, sharper hooks, is a thrashing, grooving, blasting good time. Red Asphalt arguably edges the past couple of Exhumed albums, resulting in a bloody crash course in deathgrind lunacy, grisly grooves, and melodic smarts.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stinking stream
Label: Relapse Records
Websites: exhumed.bandcamp.com | facebook.com/exhumedofficial
Releases Worldwide: February 20th, 2026

Terror Corpse – Ash Eclipses Flesh Review

By Saunders

Already boasting a killer debut EP to their name in 2025, courtesy of the sick, old school deathgrind mayhem comprising Systems of Apocalypse, Texan wrecking crew Terror Corpse hit the ground running in their short time together. The newly minted outfit come seasoned with underground cred, featuring members that have logged time in the likes of Malignant Altar, Oceans of Slumber, Necrofier and Insect Warfare. Recording the EP as a five-piece, debut full-length Ash Eclipses Flesh finds Terror Corpse stripping back to a trio and shifting tact musically. While remnants of the heavily grind-influenced charge of Systems of Apocalypse remains intact, Terror Corpse mine the fetid soil of vintage death metal, citing the likes of Celtic Frost, Incantation and pre-2000s Morbid Angel as key influences. Throw in shades of Immolation, Terrorizer, early Carcass and Exhumed, and you have a recipe for a good old-fashioned beatdown. However, don’t be fooled into thinking Terror Corpse is a run-of-the-mill act riding the decaying coattails of legacy acts of the past. Ash Eclipses Flesh respects the past, while paving its own twisted path through grisly killing fields and dank caverns of grotesqueries.

Terror Corpse merge old timey underground aesthetics with a vital injection of their own character and modern appeal. Presenting a grimy and wickedly brutal collection of grind-encrusted old-school death, Terror Corpse both encompasses and deviates from the deathgrind formula of the EP, pivoting into deathlier, guttural realms. Any disappointment of the sound shift is swiftly bludgeoned on opening track “Pyre of Ash and Bone.” The song makes a hellish statement, hammering down violent, riffy death marches through menacing atmospheres, as uber low guttural vox, squealing leads, and livewire drumming seal the deal. Dobber Beverly again cements his status as a cult legend in extreme metal drumming. Also handling guitar duties with main vocalist Mat V, the duo reinforces the album’s retro, brutish charms, primitive clubbings, and ominous atmosphere with a vital collection of top-shelf riffs, mangled leads, and headbangable delights.

Ash Eclipses Flesh revels in shifting gears from dense, noisy chaos and relentless blasts to knuckle-dragging grooves, and monstrous, caverncore-esque swarms, Terror Corpse also incorporate infectious bursts of thrashy death and gnarled, punkish grind into the fray. After a solid, respectable beginning, Ash Eclipses Flesh really hits stride on third cut “Womb of the Hollow Earth,” and it’s a ripping, high-potency ride from here on in. Elsewhere, they delve into death-doom slogs, inflicted upon the devastating “Fallout Obliteration,” and punishing mid-section on the lurching, vicious stomp of “Sons of Perdition.” Refusing to neglect their classic grindcore and splattery deathgrind roots, Terror Corpse bring the filth and dual vox, including shrieky highs, to the thrashing intensity of “Nuclear Winter.” Meanwhile, the tremendous “The Hollow That Devours” intersperses cavernous double bass rumbles and thrashy bursts with immense mid-paced chuggery and thick, insidious grooves.

Versatile tinkering of their songwriting formula ensures the songs chart diverse territories, while remaining uncompromisingly brutal and wickedly infectious. Even the closing cover of Celtic Frost’s “Into the Crypts of Rays” doesn’t feel wasteful or tacked on. Terror Corpse inject the song’s anthemic, punky edge with their own beefed-up deathgrind spark. Beverly’s energetic, nuanced drumming proves essential as the album’s beating heart, driving the fluctuating pulse rate and need for speed, slick tempo shifts, and rambunctious, sewage-coated grooves. The power of the riff compels, not through technical wizardry, but courtesy of a firm understanding of the genre’s classic origins and grimy, atmospheric underpinnings. Infectious and rancidly beefy riffs, wildly unhinged leads, and sinister melodic currents define the excellent axework. There are no glaring flaws or major drawbacks preventing a strong recommendation. Perhaps you could argue Terror Corpse aren’t doing anything especially new or innovative, while the dominant, incomprehensible gutturals might be a tough sell for some listeners.

Twenty-twenty-five has delivered diverse treats across the metalverse, including top-notch death metal releases of varied persuasions within the genre. Ash Eclipses Flesh is another not to be missed. What they lack in bells, whistles, techy flair or innovation, Terror Corpse more than compensate through their authentic and fresh spin on a vintage sound. A tightly performed, superbly produced, and invigorating slab of riffy old school death, armed with gnarled deathgrind and grisly brutal death ammunition, Ash Eclipses Flesh is a surefire corker and end-of-year list disruptor.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Facebook | Bandcamp
Releases Worldwide: November 21st, 2025

#2025 #40 #americanMetal #ashEclipsesFlesh #carcass #celticFrost #darkDescentRecords #deathMetal #deathgrind #exhumed #incantation #insectWarfare #malignantAltar #morbidAngel #necrofier #oceansOfSlumber #oldSchoolDeathMetal #review #reviews #terrorCorpse #terrorizer

Retching – Charming the Decomposed Review

By Saunders

Part of the appeal of my long-standing relationship with death metal is the sheer diversity of the genre and its many sub-genres. There is something for all moods. So while stylistic preferences remain, most forms of death I can happily jam with, whether it be old school primitive clubbings, tech shredding, gnarled dissonance, emotive melodeath, brutal slam, or successful forays of doom, blackened and prog influences into deathly frameworks. But in the end, it’s the genre’s simplified, core values and slimy, grimy atmospheres that warm the heart. Throwing their hats in the old school death revivalist ring, relative newcomers Retching explode out the rusty graveyard gates with a no-nonsense, pretension-free blast of old school death. Seeking to add their own spin and identity to separate themselves from the horde of old school aficionados, while leaving reinvention for other folks, the Rhode Island duo unleash debut, Charming the Decomposed. Let us explore whether Retching possess the songwriting smarts and tools of destruction to make an impact outside of aping the genre’s proud past.

Thirty-two minutes is all it takes for Retching to deliver eight slashing cuts of riff-driven, blasty, gore-soaked death, American-style. Charming the Decomposed is an old school brawler with a mean streak, chock to breaking point with parasitic grooves, gut-busting riffs, brutal percussive assaults, and appropriately grisly, brutal vocal eruptions. All that said, Charming the Decomposed doesn’t take itself too seriously, loading the rabid, bloodied collection with a variety of part goofy, part unsettling samples, adding to the album atmosphere, even if they are a little overdone at times (see bludgeoning opener “Moonlight Perversions/Gorging on Ecstasy”). Otherwise, efficient, high-energy cuts are the order of the day, drawing influence from the esteemed likes of early Exhumed, Mortician, Carcass and Cannibal Corpse.

“Shower Curtain Silhouette” builds from a rugged, grinding base, ratcheting up tension before exploding into speedy, punk-infused rampages, stomping verses, and skillfully fluctuating tempo shifts. The deceptive songwriting diversity poking through the muck and feral abuse adds a layer of intrigue to otherwise more traditional, blunt force beatings, amid a couple of less impactful tunes. Another of the album’s stronger examples, “Septic Entombment,” features a creative arrangement, allowing breathing space for the meaty, yet wickedly infectious riffs and bouncing grooves to ride shotgun with aggressive, blast-riddled surges. Retching operates effectively in high-speed savagery, yet the writing tends to appeal most when mixed with slower, malevolent tempos, lending a doomy, leaden weight to proceedings, such as the tormenting melodies and ominous vibes emanating from “Fetid Abattoir.”

Energy rarely drops, as brutality and raw-boned explosions of speed and blast-riddled mayhem ensue. Retching wisely integrate structural and tempo variety, coupled with razor-fine slivers of melody and raucous, crunchy riffs to stave off monotony and lend the album an infectiously headbangable streak. Along with the aforementioned tunes, this is further highlighted on the brooding, ominous swagger of ‘Vulgar Celluloid Trophy”. The anonymous duo of Latex (drums, vox) and Mondo (guitars) forge a powerhouse combo, perfectly suited to the lean, mean, and cutthroat nature of the album’s tight construction. Latex whips together a punchy, inventive performance behind the kit, proving adept at deploying slower, groovier rhythms and finesse to go with the rip-snorting blasts and thrashy tempos. His serviceable vocals get the job done, adding a gritty, guttural edge. Meanwhile, partner in crime Mondo serves up an unhealthy dose of meaty, genuinely catchy riffs, which, if maintained consistently across the album, may have elevated a solid experience into something more substantial. Still, there is some excellent axework and riffs to sink into.

Retching’s impressively no-nonsense debut won’t challenge the upper tier of death metal albums in 2025 or threaten many year-end lists. But what it does, it does well, with a no-fuss, belligerent charm that is easy to like. While there is little fat or unnecessary bloat to be found, the songwriting has room for improvement to live up to the quality of the album’s stronger cuts and create a more consistent, compelling listen. However, signs are bright and the potential promising for Retching to build something more formidable down the track.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Website: Bandcamp
Releases Worldwide: August 22nd, 2025

#2025 #30 #AmericanMetal #CannibalCorpse #CharmingTheDecomposed #DeathMetal #Exhumed #Mortician #OldSchoolDeathMetal #Retching #Review #Reviews #TranscendingObscurityRecords

What’s Going on Tuesday?
https://www.brooklynvegan.com/whats-going-on-tuesday-344/

#brooklynvegan_category_music #Music #What_s_Going_on_Tonight_in_NYC #Balloon_Snake #Bonginator #dj_paul #Dog_Park #Ernesto_Hex #Exhumed #Extortion #Fluoride #Kelela #Lady_Lychee #Morbikon #Skeletal_Remains #Skullshitter #Stimulant #Styles_P #Yacopsae