Review by Paul Hutchings for MPM
It’s evident from the opening chords of 3111 that the 2026 version Exodus mean business. A ferocious start to their 12th studio album, it’s as much a statement of defiance as anything else. A real fuck you to the haters, the doubters, the naysayers, all who sneer at thrash metal.
Let’s face it, any band that has been kicking in doors for over 40 years is going to encounter a few bumps in the road along the way. But underneath the skin, this is the same band who snarled out of the traps in 1985 with Bonded by Blood and who are rightly considered as the thrash forefathers alongside Metallica.
With Rob Duke back in the fold for the first time since Exhibit B: The Human Condition, this is Exodus in fighting form. Throw in a broader range of writing contributions from the wider band, guest appearances from Peter Tägtgren (Hypocrisy, Pain) and violinist Katie Jacoby and you have all the ingredients needed for a solid thrash metal assault.
There are some minor quibbles. The title track, released as the second single following 3111, is something of a struggle for me. Whilst I wrestle to accept title track Goliath, there are elements within it which bring a fresh new approach. Jacoby’s ominous string work combined with the simmering slowed down tempo demonstrate that there are always riches to be found, and the suffocating atmosphere combined with some intricate guitar work at least salvage a couple of points.
But elsewhere, there is contrast and impressive variation. The Changing Me, one of the contributions by guitarist Lee Altus is massive, with a glorious Gojira-style break down, Tägtgren adding some cleans to the mix, and a tempo that will inevitably demand intensity in the pit when it makes its live debut (hopefully on the forthcoming Kreator tour). Throw in a massive beast in Summon of the God Unknown, the penultimate track and an epic monster sprawling over nearly eight minutes and there is good reason to hail this as an album that sits neatly in the Exodus discography.
Much of the criticism about 2021’s Persona Non Grata was the delivery of former vocalist Steve ‘Zetro’ Souza. To many Zetro was the voice of Exodus, but in Dukes they posses a vocalist with a wider range, more heft and even a bluesy Southern rock feel, as demonstrated on Promise You This, which blends styles but throws down big style, with some phenomenal shredding from Holt, just in case you’d forgotten that the man is one fantastic guitarist.
It’s when Exodus return to pure relentless thrash that their deadly delivery becomes most potent. Beyond the Event Horizon and 2 Minutes Hate are ferocious in their snarling disregard of authority, underpinned by some powerhouse drumming by Tom Hunting and bassist Jack Gibson, the latter standing out in the mix with crushing effect.
One of the best songs Exodus has written in the previous 40 years is the gargantuan Summon of the God Unknown. An explosively heavy eight-minutes, it’s one of five tracks that Gary Holt has penned. It’s a brooding track that builds in intensity, semi-sludgy riffs that combine with a melodic undertow. It’s perfectly placed to lead into the punishing finale of The Dirtiest of The Dozen, written by Holt with drummer Tom Hunting supplying lyrics. It’s a breakneck speed ripper which provides one last flourish and again sees the technical ability of the band come to the fore, with the guitar work razor sharp.
In 2026, the fact that bands like Megadeth, Kreator and Exodus are still releasing music is remarkable, and should be celebrated. Unlike their peers, Exodus is highly unlikely to attract the number of critical comments, due to a more focus and expansive approach. Goliath may not crash into my top ten of 2026, but it’ll certainly be close. And for me, as I head to Lisbon for that opening night shortly, these tracks will ring true alongside those epics which have accompanied me for over 40 years.
Pre-Order Your Copy of Goliath HERE
EXODUS is:
Tom Hunting – drums
Gary Holt – guitars
Jack Gibson – bass, backing vocals
Lee Altus – guitars
Rob Dukes – lead vocals
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