To be honest, I had been eagerly waiting for this album for quite some time. Including their two live albums, this marks Exodus' tenth release. Let me say this up front: when the first reactions came out, some people were quick to claim that Exodus had joined the ranks of bands that had "lost their way." Back then, I said nothing—but now I will: if this is what Exodus sounds like when they've "lost it," then amen to that!
The album features nine explosive tracks—one of which is an intro—and clocks in at 59 minutes and 42 seconds. As announced in the early technical details, the album was produced by Andy Sneap. I’ve yet to hear a bad album recorded by Sneap, for whatever reason. The album was released under the Nuclear Blast label.
Before diving into the tracks, it's worth noting a lineup change that some may have missed: Paul Bostaph didn’t join the band for this album; instead, longtime Exodus fans will be happy to see Tom Hunting returning to the drummer’s seat. While this raised some eyebrows initially, all doubts are laid to rest just seconds into the first track.
We’re welcomed into the album with A Call To Arms, driven by tight snare drum strikes. It's an impactful intro that transitions sharply into the second track, Riot Act. That opening riff? Absolutely monstrous. Exodus is firing on all cylinders—blazing fast drums, thick and crunchy bass, furious riffs, and savage vocals! Rob Dukes sounds much more confident and dominant on this album compared to Shovel Headed Kill Machine. It’s clear that the experience he’s gained since then is paying off. Riot Act is a short, sharp burst of a track that leads us into the third song, Funeral Hymn.
Funeral Hymn really feels like you're wandering through a graveyard. It opens with a lightly delayed section and moves forward with a mid-tempo pace, preparing you for the storm it’s about to unleash. Tom Hunting’s drumming is jaw-dropping, and Jack Gibson steps into the spotlight at times with his powerful bass lines. Surprisingly, the song stretches over 8 minutes and 38 seconds—something we haven’t seen from Exodus before. But it doesn’t drag. There’s little repetition, and the repeating melodies and riffs are well chosen, so the track never bores. With killer solos and non-stop progression, you'll find yourself arriving at track four, Children Of A Worthless God, before you even notice.
This track deserves its own spotlight. We had heard it before the album’s release, and it's hands down the most impressive song on the album. It opens with a magnificent melody and truly serves as the album’s locomotive. It’s so powerful, it’s hard to put into words. The aggressive breaks before the vocal sections push the limits, and Rob Dukes' clean-ish vocals in the bridge pull you into another world. And those screams—unreal! This track is a perfect example of why you might leave a concert with a neck injury. The solos are phenomenal, and the melodies are almost drool-inducing.
The fifth track, As It Was, As It Soon Shall Be, is pure old-school thrash. It practically invites you to headbang, with ripping solos to match. In this song, for some reason, Rob Dukes’ vocals reminded me of Steve Souza at times—which was a very pleasant surprise. The sixth track, The Atrocity Exhibition, is the album’s longest at 10 minutes and 33 seconds, and in places, even flirts with death metal.
The seventh song, Iconoclasm, starts off simple and fast with familiar drums, but the following riff knocks you to the ground. Easily one of the most high-energy songs on the album, Iconoclasm could turn concert venues into rubble. The vocal effect at the start is also a clever touch. The eighth track, The Garden Of Bleeding, keeps a more mid-paced tempo and is perhaps the album’s weakest track. Finally, the ninth track, Bedlam 1-2-3, is one that many of us had heard in live versions before. It’s the definition of a final blow—an absolutely devastating finish.
We’re talking about a record that destroys. Production-wise, there's nothing to complain about. The tones are right on point, quite similar to Shovel Headed Kill Machine. Every band member excels: Gary Holt is a riff machine, no explanation needed; Lee Altus delivers an extremely impressive performance with his solos; Tom Hunting stamps his mark on the album after leveling up his drumming even further; Jack Gibson practically carves out the basslines; and Rob Dukes screams with all the fury in his being. What more can you ask for? The melodic elements the band adds don’t weaken the aggression at all—in fact, they’ve found a perfect balance. For those wondering which side is stronger, make no mistake: it’s aggression!
This is a pure, blazing Thrash Metal album. Listen to it. Now.