There’s a definite sense of déjà vu within the Exodus camp these days. The recent news of vocalist Steve “Zetro” Souza leaving to be replaced by Rob Dukes already happened back in the mid-2000s, while founder member Gary Holt skipping out briefly to tour with Slayer is another notable case of history repeating itself. Musically, however, things have been kept on a more even keel. The last two Exodus records were sick, slick slabs of unbridled thrashing mayhem, but with the return of Dukes, changes are afoot again…

It’s less of a risk to mention 1992’s Force Of Habit album these days, but for a long time, it was a very different story. The Elvis Costello and Rolling Stones covers, moody Grunge-isms and downbeat atmosphere all proved a bridge too far for many fans, and a bold move to change with the times almost saw the band disappear for good. But it’s back towards these more adventurous horizons where twelfth full-length studio release, Goliath (Napalm Records), sets its sights.

Opener “3111” ensures the curtain is raised over a scene of familiar brutality, its title referencing the number of drug cartel murders in Juárez, Mexico, in 2010, and its accompanying promo video immediately causing problems for the band on YouTube. A blistering eruption of violence bursts from a slow, and ominous riff while Dukes sounds like a supercharged Zetro, at one point almost reaching the same level of unhinged derangement not heard since the early days of Paul Baloff. Following closely behind, “Hostis Humani Generis” (or Enemy of All Mankind) is fast as absolute fuck, Dukes spitting out lines like “I choose hate!” with a delivery owing as much to Punk as Metal.

“The Changing Me” is the record’s first real departure as Dukes shares vocal duties with Swedish musician/producer Peter Tägtgren (Hypocrisy, Pain), the pairing, not altogether unsurprising, giving the song a European Melodeath vibe. “Promise You This” comes next, a song laden with upbeat aggression that could easily have sat on Force of Habit, or Impact is Imminent.

One noticeable feature of Goliath is just how prominently bassist Jack Gibson features, and the title track is a perfect example of this. His four-string work is exemplary, while violinist Katie Jacoby adds another layer of atmosphere to a lumbering behemoth that plods, broods, and chugs as slowly as possible but stands as one of the heaviest songs the band has ever recorded.

Things speed up again with “Beyond The Event Horizon,” an apocalyptic cut about an actual Ultramassive Black Hole called TON 618, while “2 Minutes Hate” is the twisted relative of “Brain Dead” from Pleasures of the Flesh. The schizophrenic “Violence Works” is an interesting diversion while Dukes produces a similarly varied performance on “Summon Of The God Unknown,” the track switching from a “Nanking”-style cut into total Black Sabbath worship before autobiographical thrasher “The Dirtiest Of The Dozen” closes the record with a comfortingly violent flourish.

Boasting a sensational production, Goliath allows room for every instrument to shine, in both its mix and its arrangements. One moment you’re being carried aloft by the riffs of Holt and the dive-bombing solos of Lee Altus, and the next it’s a bombardment of crystal clear, ultra-heavy drums courtesy of Tom Hunting. Dukes’ voice is the most adaptable it’s ever been, and if you like a lot of bass in your Thrash then Gibson’s signature is all over the record.

While it’s clear some parts definitely work better than others, one thing is certain: A divisive record that forces debate is far more welcome than a simple banal retread of old ground. The new Exodus might not be for everyone, but it will certainly get people talking.

Buy the album here:
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7 / 10
GARY ALCOCK
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