Exodus Albums (11)
What The Critics Say
Fully 23 years after Exodus' classic debut, Bonded by Blood, the band tackles those songs again. It's uncertain whether this group should even be called Exodus, as only two members, guitarist Gary Holt and drummer Tom Hunting, remain from the original lineup. This remake smells like a cash-in, even though the current incarnation of Exodus still makes energetic, ambitious records. Intentions aside, the results are solid. The biggest surprise is vocalist Rob Dukes, a non-factor on his two records with Exodus thus far. Obviously taking cues from the histrionics of original vocalist Paul Baloff, Dukes transcends his usual facelessness. Though Holt lacks his classic six-string foil Rick Hunolt, Lee Altus (Angel Witch, Heathen) is a more than able replacement. In fact, the guitars are pretty much flawless. Hunting, too, sounds nothing like the white-knuckled ride of yore, instead turning in a disciplined performance. Such perfection is both the strong suit and downfall of this record. On one hand, the monstrous production and tight attack give the songs a heft they never had. On the other hand, the perfectly compressed sound and tick-tock precision strip the songs of the wild, wiry charm they once had. Let There Be Blood does exactly as advertised, recasting Bonded by Blood in 2008 -- nothing more and nothing less. ~ Cosmo Lee, All Music Guide
'The Atrocity Exhibition'
Release Date 1/1/2007
Tracks 10
Label Nuclear Blast
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What The Critics Say
With the untimely passing of founding vocalist Paul Baloff in 2002, and the subsequent, short-lived reunion with his original successor, Steve Zetro Souza, for 2004's acclaimed comeback LP, Tempo of the Damned, Bay Area thrash metal kings Exodus were forced to audition a new frontman for the first time in 20 years before moving on with their resuscitated career. Rob Dukes, a relative unknown, was duly hired and thrown almost immediately to the mosh pit wolves via 2006's Shovel Headed Kill Machine -- acquitting himself rather well thanks to his vocal and temperamental similarities to his predecessors, as well as the reliable ultra-thrash high standards of that album's songwriting, overseen as ever by Exodus' longstanding creative leader, guitarist Gary Holt. But, when the time came for the rookie singer's sophomore outing as Exodus' mouth-of-war, 2007's tellingly titled The Atrocity Exhibition (the group's eighth studio album overall), Dukes was handed a far more challenging homework assignment by taskmaster Holt involving by some of the deepest and most thought-provoking lyrics of the band's career, not to mention their most musically ambitious and eclectic collection of songs since 1992's underrated Force of Habit. Yet, rather than following that album's fatal mistake of discarding some of the band's most defining bludgeoning thrash sounds, Atrocity endeavored to tie the album's songs together with a loosely conceptual theme centered around religiously motivated strife and warfare, as well as slower tempos, while taking advantage of Dukes' ability to sing melodically and incorporate additional flavors amid those signature thrash attributes. Taken as whole, the end results may well qualify as Exodus' personal Master of Puppets (possibly inspired by Machine Head's similarly emboldened The Blackening CD, released just a few months prior), as familiarly single-minded speed thrashers like "Riot Act" and "Bedlam 1-2-3" simply bookend a slew of multi-faceted epics of unprecedented instrumental and dynamic diversity like "Funeral Hymn," "Iconoclasm," and the ten-minute title track itself. Sure, first generation fans may still view Dukes' alternating clean and dirty vocals on "Children of a Worthless God" as no small travesty, but the fact is the strategy works in the context of the song's emotionally charged message, and -- let's face it -- makes for another welcome talking point. Finally, the return of founding drummer Tom Hunting may help old-school fans cope with these experiments, since, like Dave Lombardo for Slayer or Phil Rudd for AC/DC, Exodus never sound quite right without him and his personal combination of sheer chops, untold power, and all-important "feel." And, like it or not, into every long-term career, change and risk-taking must come sometimes, and, given a few more years (not least for Dukes to further establish himself), one feels that The Atrocity Exhibition will stand up as one of Exodus' deepest, and most intriguing albums. ~ Eduardo Rivadavia, All Music Guide
'Shovel Headed Kill Machine'
Release Date 10/3/2005
Tracks 10
Label Nuclear Blast
See Album Tracklist and Review
What The Critics Say
Exodus have been on the thrash metal scene since their beginning, but for reasons unknown are often skipped over when discussions arise about the genre's originators (with Metallica, Slayer, Megadeth, and Anthrax usually getting the lion's share of the credit). Despite never truly receiving the props they deserved (even after issuing Bonded by Blood -- an album that is considered to be right up there with Kill 'Em All and Hell Awaits), Exodus continue to steamroll merrily along on their seventh studio set overall, 2005's Shovel Headed Kill Machine. The only familiar name from Exodus' glory days of yore is longtime guitarist Gary Holt (who also serves as the album's producer), but Shovel Headed Kill Machine signals the arrival of former Slayer drummer Paul Bostaph -- undoubtedly one of metal's most highly adept timekeepers. It's rare in the early 21st century to come across a straight-ahead, honest to goodness thrash metal album, but Shovel Headed Kill Machine certainly fits the bill, as evidenced by such tracks as "Deathamphetamine" and the album-closing title track. And you've got to love the cover artwork, which has '80s-era metal written all over it (and would surely have been airbrushed on the backs of many metalheads' denim jackets if released during thrash metal's heyday). ~ Greg Prato, All Music Guide
'Tempo of the Damned'
Release Date 1/1/2004
Tracks 10
Label Nuclear Blast
See Album Tracklist and Review
What The Critics Say
Given up for dead over a decade earlier, the mighty Exodus -- the original kings of thrash metal -- made an unexpected but long-rumored return in 2004 with the release of their sixth studio album, Tempo of the Damned. But what had been intended as a long-awaited reunion of their seminal Bonded by Blood lineup was tragically thwarted with the sudden death of vocalist Paul Baloff in early 2002. Fittingly, Baloff was duly supplanted by none other than Steve "Zetro" Souza, the man who'd replaced him in the first place and who had gone on to sing on every Exodus album thereafter, including their mid-period thrash classic Fabulous Disaster. Of course the fact that Souza was clearly the better and more reliable vocalist (albeit not as fun a character as Baloff) should not be overlooked, and with the welcome involvement of long-gone founding drummer Tom Hunting, Tempo of the Damned still serves as quite the family reunion. It also doesn't disappoint musically, picking up the pieces right where the band's star-crossed career had fallen apart 11 years earlier with the underrated Force of Habit, and turning in a performance that is, at once, vintage Exodus and mindful of modern recording standards as well. All of the old, much loved Exodus hallmarks are here: lyrics filled with biting, sarcastic social commentary; no-fuss, jagged thrash metal; and unparalleled technical precision. As has always been the case, it's the dazzling six-string tag team of Rick Hunolt and Gary Holt (quite simply the tightest rhythm guitar duo in the history of thrash -- Slayer included) that truly drives the Exodus bullet train over lightning runs like "Scar Spangled Banner" and the wonderfully retro-named "Impaler." Their solos are as musical as the riffing is not, and, as heard on excellent examples like "Shroud of Urine" and "Forward March," always typified by inventiveness without excess pyrotechnics. About the only deviation from the band's tried and true formula of old comes in the shape of Souza's more varied vocal styles, including a less whiny, wholly uncharacteristic full-throated death roar for the standout "War Is My Shepherd." Tempo of the Damned's second half isn't quite as memorable, the likes of "Sealed with a Fist" and "Throwing Down" suffering from the same sort of aimless riffage that had mired disappointing earlier efforts like Pleasures of the Flesh and Impact Is Imminent, but "Culling the Herd" manages to buck this trend with plenty of fireworks, and the title track still moshes with a vengeance. Taken as a whole, Tempo of the Damned successfully resurrects Exodus as the potent and formidable thrash machine of old. The fact that they are well aware of their strengths, and content to stick with them to the end, is what makes this such a welcome release for the band's loyal followers, as well as younger fans looking to understand what got heavy metal where it is today. ~ Eduardo Rivadavia, All Music Guide
'Another Lesson in Violence'
Release Date 5/20/1997
Tracks 12
Label Century Media
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What The Critics Say
Recorded during a one-off 1997 reunion show, this vibrant live album featured the near original lineup of thrash metal pioneers Exodus; the only absent parties are original bassist Geoff Andrews and guitarist Kirk Hammet, who was probably tied up at his day job Metallica. Though it was almost certainly tweaked in the studio at a later date, the performance captured on Another Lesson in Violence sounds amazingly live and raw, containing furious renditions of the band's many early classics, screw-ups and all. The band wisely concentrates on material from their landmark debut Bonded By Blood, the only to feature terminally cheesy vocalist Paul Baloff, who incidentally, appears to have matured little in the intermittent 15 years. And in keeping with the spirit of the festivities, the only three tracks culled from their disappointing sophomore album Pleasures of the Flesh were also co-written by Baloff before his dismissal. As an added bonus, the band even resurrects a never recorded early track co-written by Hammet called "Impaler," and surely only a guest appearance from the man himself could have made this timely release more memorable. Probably of little interest to non-fans, Another Lesson in Violence will certainly leave first-generation thrashers giddy with memories past. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
For Force Of Habit, Exodus slows the pace a notch, drops the guitars a register, and gives the thrash a little room to breathe. Still, the approach does allow for some melody, and the inclusion of a pair of uncharacteristic cover versions in The Rolling Stone's "Bitch" and Elvis Costello's "Pump It Up." Force Of Habit also features some interesting lyrical content. "Me, Myself and I" satirizes the "me generation;" "One Foot In The Grave" sets straight any notion that substance abuse is cool; "Architect Of Pain" is an 11-minute magnum opus tribute to the Marquis de Sade. ~ Roch Parisien, All Music Guide
What The Critics Say
The boys in Exodus followed 1989's Fabulous Disaster with Impact Is Imminent, in which the band pummels through riff upon endless riff. The bright spots are "Only Death Decides" and "Within the Walls of Chaos." ~ Eduardo Rivadavia, All Music Guide
'Fabulous Disaster'
Release Date 1/1/1989
Tracks 10
Label Music For Nations
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What The Critics Say
After years struggling for recognition while watching their peers achieve fame and fortune, Bay Area mainstays Exodus had every reason to be dejected when they re-grouped in 1989 to record their third album Fabulous Disaster. Still, they went on to create their most diverse and carefully conceived effort yet, while remaining faithful to their no-frills thrash ethic. But while the album represented the realization of their vision, as well as their commercial peak, it still failed to gain them their well-deserved place alongside such thrash metal giants as Metallica, Anthrax and Slayer. After a random spoken word intro, opener "The Last Act of Defiance" quickly sets the frenzied pace, taken a step further by the title track's highly amusing apocalyptic vision. Both songs also showcase the amazingly fast feet and incomparable fills of Tom Hunting -- the only human capable of challenging Slayer's Dave Lombardo for bragging rights as thrash metal's greatest drummer. Up next, "The Toxic Waltz" provides a fresh take on the band's mosh classic "A Lesson in Violence," and the more complex "Cajun Hell" also succeeds despite its silly lyrics. Significantly more intelligent, the eight-minute epic "Like Father, Like Son" is another show of maturity, and other highlights like "Corruption" and "Verbal Razors" exhibit the blinding precision and speed of Gary Holt and Rick Hunolt -- arguably the best, and definitely the most over-looked, lead guitar tag team in the genre. Finally, two choice cover versions of AC/DC's "Overdose" and the Southern Californian classic "Low Rider" adds just enough flavor and humor to the proceedings. ~ Eduardo Rivadavia, All Music Guide
'Pleasures of the Flesh'
Release Date 1/1/1987
Tracks 10
Label Music for Nations
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What The Critics Say
Despite their crucial involvement in the development of thrash metal, by 1987 San Francisco's Exodus were playing a game of catch-up. Upstarts Metallica had first stolen their thunder, then their guitarist, and after a yearlong delay that rendered their seminal debut, Bonded by Blood, rather archaic, the group experienced a tumultuous lineup change with the departure of founding vocalist Paul Baloff and the arrival of ex-Testament singer Steve Souza prior to the recording of Pleasures of the Flesh. By and large, the throat-shredding vocal styles of both frontmen proved to be pretty much interchangeable. ~ Eduardo Rivadavia, All Music Guide
'Bonded by Blood'
Release Date 1/1/1985
Tracks 11
Label Music For Nations
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What The Critics Say
Had it been released immediately after it was recorded in 1984, Exodus' Bonded by Blood might be regarded today alongside Metallica's Kill 'em All as one of the landmark albums responsible for launching the thrash metal wave. But by the time it finally hit the streets more than a year later due to numerous record company-related difficulties, the genre the band helped spawn had evolved at an alarming rate (again, largely thanks to the unstoppable Metallica) and Exodus were left to wonder what kind of impact they may have had without these setbacks. Opening with the mind-blowing power of title track, the band immediately pummels through a number of astounding thrashers, including "And Then There Were None" and, perhaps their best well-known track, "A Lesson in Violence" -- a veritable handbook for thrash etiquette. Though less enduring, "Metal Command" is one of the band's most fully realized compositions and leads the way into concert the fave "Piranha," which may sound a tad dated, or charmingly naïve depending on the listener. The same can be said for the remaining material, and while "No Love" could have done without its acoustic intro, the band closes strong with "Deliver Us to Evil" and the crushing intensity of "Strike of the Beast." The 1989 reissue on Combat Records adds a couple of live versions and drops the admittedly awful (but once again, endearingly so) original cover artwork, but there really was no reason to tweak this underground classic in any way. Put simply, Bonded by Blood is an album whose influence far exceeds its actual notoriety, and it remains a crucial piece of the thrash metal puzzle -- essential. ~ Eduardo Rivadavia, All Music Guide
