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Exodus | The Atrocity Exhibition Exhibit A | review | metal | Lollipop


The Atrocity Exhibition... Exhibit A (Nuclear Blast)
by Eric Chon

Someone must've pissed in Gary Holt's Cheerios, because he's one irate motherfucker, and Exodus' latest platter of surgically-precise evisceration is a testament (no pun intended) to the staying power of thrash metal. Gone are the happy-go-lucky "Toxic Waltz" days, only to be replaced with vitriolic tirades and epic rants on the corruption of organized religion and the brainwashing power of our wonderful military-industrial complex. Clearly, Exodus is a band with a chip on its shoulder.

Album opener "Call To Arms" is an excellent build-up to the scorcher that is "Riot Act." The album hits full speed immediately, delivering a blistering salvo of razor-sharp guitars and Rob Duke's vein-busting bellow, urging us to "prepare for coup d'etat!" Gibson and Hunting shake the ground with thunderous bass and rhythm, but the show has always belonged to the twin-guitar attack of Holt and now Lee Altus (who proved his axe-worthiness on 2005's excellent Shovel-Headed Killing Machine). Their sick melodies and twisting solos are packed with complex riffs and intricate shred, cutting to the bone one minute and crushing skulls the next.

But The Atrocity Exhibition really delivers once "Children Of A Worthless God" rips through your speakers. While retaining all the qualities that make Exodus one of the most aggressive and exciting metal bands in existence, it also explores new territory for them, adding choral-like sections amidst all the chaos and savagery. Clocking in at over eight minutes in length, once it's over, you'll be saying "Wait, that's it?? I need more!"

And the rest of the album does not disappoint. While "Riot Act" was only a paltry three-and-a-half minutes long, the rest run the gamut between five and 10 minutes. This really allows the songs to breathe and realize their full potential. There's no mindless repetition here: Each track contains multiple parts, never becoming dull or boring.

Exodus has, once again, delivered an amazing album which should please old and new fans alike. Dukes has really grown into his role as front-man, giving the band a unique and aggressive voice that is an equal match for the ferocity of the music. Holt and company keep the fires burning, making Exodus as relevant as the day they formed, shoving all the flash-in-the-pan groups into the dirt, while simultaneously trodding on all their fake posturing. This is metal executed flawlessly by true masters of the art.


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