Review by Norbert on February 25, 2026.

Imagine driving on a German autobahn. Asphalt so smooth you could calibrate measuring instruments on it. Cars glide at perfect intervals, turn signals activated with enough advance planning for a space mission. Cruise control set, fuel consumption calculated, route optimized. If ISO existed for road travel, this autobahn would have all its certificates framed at the entrance.

The radio plays Scorpions' 'Wind Of Change.' A whistled theme floats softly over the perfect asphalt, Klaus Meine singing with complete conviction about the wind that brings change, hope, and probably also perfectly ironed jeans from 1990.

And suddenly, between the chorus and the next verse, a crackling sound appears.

You think: interference. Maybe a tunnel. Maybe an antenna.
But no. It's a riff.

Dry, dirty, unconfirmed by any quality department. The bass begins to rumble, as if violating health and safety regulations, and the drums come in without prior notice, in triplicate. The perfectly soundproofed car interior feels uneasy – as if someone had entered chaos into an Excel spreadsheet. The navigation system continues to guide you straight ahead. ETAs are calculated to the minute. But out of the corner of your eye, you see an exit to some Gewerbegebiet (Gewerbegebiet). An ordinary industrial zone. A hall, corrugated sheet metal, a coffee machine that tastes like punishment for sins.
And that's precisely why you turn. A few minutes later, you're standing in front of the hall, sound pouring out. No stadium sheen, no ballad nostalgia. Four guys in leather jackets playing as if the last four decades had never happened. No compromises, no digital sterility. Just distortion, tempo, and the conviction that the best year in metal history is still 1985.
And that's probably how – between "Wind of Change" and the highway exit – Cruel Force's material caught my ear.

I don't normally listen to much black/thrash or speed metal with the obligatory sulfur-pentagram-double kick drum combination. But every now and then, something from that genre catches my ear, out of nowhere, and for some reason. And worse, it loops without asking for permission. That's how, completely without warning, I came across material from Cruel Force – a band that clearly decided that metal's best years were over. No irony, no shame, no modern polish. Four guys from the Rhineland looked into the abyss of the first wave of black metal, Teutonic thrash, and classic speed, and the abyss responded: "more double kick drum." And that's how it all began.

The 2010 debut album, "The Rise Of Satanic Might," is 33 minutes of the devil freezing on the mountain peak from the cover, and the listener is punched in the face with pure, indecently honest black/thrash. This is an album that doesn't pretend to reinvent the wheel—it bolts that wheel to a chariot and drives it straight into the pentagram. The riffs from the guy nicknamed Teutonic Slaughter sound like they've been lifted from early albums by Bathory, Venom, and early Kreator, but they don't sound like mindless decals. It's more of a love letter to the '80s, written with a knife on a leather jacket. The drums follow a classic "Teutonic" rhythm—without a million fills and technical flourishes—because this is about momentum, not a doctorate in polyrhythms. The vocals of a certain Carnivore are a different story: not your typical black metal screech, but rather a rough, death/thrash roar that sounds like someone just set his altar on fire. The production is dirty, analog, without plastic or triggers, but with just the right amount of sulfur in the air. The lyrics? Witches, hell, blasphemy, Elizabeth Bathory (because why not), and a march under the sign of the pentagram. Is it original? Not necessarily. Does it work? Absolutely.

Released a year later, "Under The Sign Of The Moon" proves that Cruel Force isn't just a one-off Satanic extravaganza. It's still the same aesthetic, but more refined and—what can I say—even more powerful. More darkness, more atmosphere, more of that strange anthemic quality you wouldn't expect from a band riding on two chords and four beers. The title track marches proudly and almost epically, as if it were truly leading a procession of cuckolds through nocturnal cemeteries. The fast-paced tracks cut like a razor, but they don't fly on autopilot—the tempo changes, there are slowdowns, dramatic intros, and pauses that make room for the next beat. The production is a bit leaner, more "necro," less thrashy, closer to the first wave of black metal. The guitars are sharper, the drums dry and merciless, and the whole thing sounds like it was recorded in 1985—only, miraculously, better than half the albums from that era. This is the moment when Cruel Force becomes a cult classic for some—not because they came up with something new, but because, within a very narrow framework, they were able to write truly memorable songs.

Then silence. The band disappears for a decade, as if someone had turned out the light in a crypt and slammed the door. Two albums, a lot of potential, and it's over. Game over. The game is over.

And then "Dawn Of The Axe" arrives. Cruel Force returns after more than a decade, and instead of sinking even deeper into black metal filth, they veer towards classic speed metal. It's still fast, still sharp, but there's more of the heavy metal spirit of early Accept, Jag Panzer, or Omen. Carnivore's vocals are less biting like a forest demon, more screaming like a 1986 motorcycle squad leader. The riffs are clearer, catchier, at times even—hmm… anthemic? There are marching tempos, epic interludes, and even a touch of melody, which previously seemed more of a side effect than the goal. The production is consciously retro—everything sounds old, but not like something from a beer-soaked basement. There's reverb, there's echo, there's an old-school snare drum, but you can feel it's deliberate, not accidental. There's also a clear progression in the songwriting: there are choruses, there are moments that really stick in your head. "Dawn Of The Axe" doesn't completely cut ties with the band's past, but it does clear some of the dust off and shows that Cruel Force can be not only wild but also downright damn effective.

The story of this band consists (so far) of three acts: a very good debut, a phenomenal follow-up, and an unexpected return that, instead of dismantling the legend, adds a new chapter to it. And with the fourth album just around the corner (late March), it seems this story has no intention of ending at all. The highway will always be smooth, predictable, and consistent with the norm. But every once in a while, it's good to veer towards corrugated iron and distortion. Even if the navigation system opposes it.

*This description is based on imagination from the turn of the century. Contemporary experiences may vary 😉

Rating: 8.5 out of 10

Review by Felix on July 21, 2023.

Let’s talk about this quartet called Cruel Force. Honestly speaking, their debut was good, but some songs of Under The Sign Of The Moon were and still are simply incredible. Thus, I wasn’t very happy to see the band vanishing into thin air, but now, after more than a decade, they have returned. That’s great, but also dangerous, because they have modified their style. The black elements of their former black thrash sound have almost been totally erased. Cruel Force have made a move to a new bastard, a speed / thrash hybrid. But do not expect high-pitched vocals, the quite deep voice of Carnivore still sounds earthy. He does not lack charisma and expressive power and so he alone guarantees a strong metallic vibe.

But, of course, his comrades also do not behave like posers. Yes, I have allowed myself to use this word in view of the very archaic approach of the band. Just take a look at the artwork. It could also be the cover of an Atlain, Living Death or Iron Angel album of the eighties. But that’s not all: the promo claims that it has identified elements of Rainbow and Scorpions. I didn’t. Guess I must have been “in trance”. Anyway, all those who think that Cruel Force have softened their compositions do not have to fear nightmares. Admittedly, occasionally a part appears that would have had no chance to get a place on the first two albums. A few multi-voiced back vocals or the nearly dreamy instrumental part of 'Devil’s Dungeon' must be mentioned in this context. Well, not the best sequence on the album, but it does not characterize the entire work. And, by the way, a little drama and some melancholy are no bad things per se.

The two advance songs, 'Across The Styx' and the title track, do not know overly emotional parts and they represent the album in an excellent manner. High velocity, galloping guitars, commanding vocals, insane fill-ins and larger than life choruses form two flawless jewels. They justify their prominent positions (openers of the A and the B side of the vinyl) with great ease – if we forget the two short intros for a moment. They are cool, metallic (side A) or atmospheric (side B) and open the gates in a good manner, no more, no less. Behind these gates, strict torpedoes like 'Night Of Thunder' await the listener. Every now and then, they spread some Deströyer 666 vibes, but more decisive for their great impact are the brilliant riffs and the non-polished yet catchy chorus lines. The song titles underline the archaic element of the music. Something like 'Death Rides The Sky', another audacious rocket which is based on clear contours and many high-speed parts, is old-fashioned, generic and… absolutely fantastic.

Naturally a good production is very useful, and Cruel Force impresses with a mix which finds the perfect balance between underground metal waves and professional transparency. Especially the guitar tone shines almost with perfection. It comes to full glory in some solos, for example in the one of 'Power Surge'. The song underlines the passion of Cruel Force for straight-lined, diabolic smashers for the last time – the following closer invites the audience to a rather epic finale, although it holds a sharp riff and another fine portion of high velocity as well. And that’s it. 38 minutes of playtime does not indicate opulence and it is somewhat sad that we do not get a little bit more. However, Dawn Of The Axe marks a very strong return, because it seems to be filled to the brim with the true spirit of metal. Therefore (and for a handful of outstanding tracks) I like this full-length very much.

Rating: 8.6 out of 10