In his review of Hatriot’s mostly forgettable Heroes Of Origin, my erstwhile compatriot Zach Duvall hit upon one fundamental truth about Exodus: In the absence of Baloff, Exodus needs Zetro, and Zetro needs Exodus.
The last time Steve “Zetro” Souza fronted Exodus was for 2004’s Tempo Of The Damned. A literal return for Zetro and a figurative one for the band, that album was the strongest Exodus album since 1989’s Fabulous Disaster, which in turn was their second-best record behind their classic debut, Bonded By Blood. In the years since Tempo and Zetro’s subsequent second departure, Exodus released three records plus an unnecessary re-recording of Bonded, all with Rob Dukes behind the microphone. Simultaneously, Zetro worked with Dublin Death Patrol and fronted Hatriot. None of the records by either party was a complete dud, but none approached the fire of Tempo, Disaster, or 1987’s Pleasures Of The Flesh. Everyone was biding time.
Fear not, Exodus faithful, because the stars have aligned again, and Zetro’s back. And as you’d expect, the result is by far Exodus’ best record in a decade.
After a surprisingly effective electronica intro (contributed by Dan the Automator), “Black 13” wastes no time in establishing the game plan. Exodus c. 2014 is playing like a band with something to prove, and the whole of Blood In, Blood Out benefits from a blistering energy. Mainstay guitarist Gary Holt can write some ripping riffs – he’s proved that over the past three decades – and herein, he and relative newcomer Lee Altus (also of the underrated Heathen) churn through some killer thrashing, all propelled by Tom Hunting’s absolutely stellar drum performance. Thrash is all about the driving force, and the team of Hunting / Holt / Altus brings it in spades.
But, wait, you may say: Exodus has always had solid riffing, no matter the singer, so there’s a bit more to it, and there’s where Zetro comes in. His high-pitched snarl is in fine form, scratchier than in his youth, but to no real detriment. Since Baloff’s death (and really since Baloff’s first split), Zetro’s the voice of Exodus, and his scream is a natural fit for what Blood In brings. This is the reunion that fans have wanted since Tempo’s glories didn’t last, and for good reason – this is Exodus.
But, wait, you may say: None of that matters if the songs aren’t good. Oh, but yes, these are, and for the most part, quite so. As a whole, they’re the best songs Exodus has composed since Tempo Of The Damned, the product of their parts, of a band seemingly with something to prove. The first four tunes – “Black 13,” the title track, “Collateral Damage,” and “Salt The Wound” – are as solid an introductory pummeling as any thrash album has had this year, and that includes (but doesn’t overcome) Overkill’s massive White Devil Armory. “Salt” garnered some press for the guest guitar solo by former Exodus guitarist Kirk Hammett (who plays in some other band), but in truth, while certainly fun, Hammett’s appearance is extraneous: The song succeeds without him. He’s icing on the cake, a story for the press geeks like me, and really nothing much more.
From those four, Blood In doesn’t let up, but it does settle in. “Body Harvest” is a respectable thrasher, but “BTK” gets a bit silly (and oddly outdated, since Dennis Rader was convicted not long after Tempo Of The Damned was released). The groovy “My Last Nerve” is a later standout, but most of Blood In’s second half blends into a blur, dragged down somewhat by more forgettable fare like “Wrapped In The Arms Of Rage” and “Honor Killings.” Whereas the Atrocity Exhibitions felt bloated and overlong, although not markedly shorter in actual time, the songs on Blood In feel more concise, which is really just them being better constructed and more passionately performed.
So after a decade’s worth of B-grade Exodus, we finally get back to where we were in 2004. Zetro’s back and now, as then, the band is in fine form. And not surprisingly, now, as then, Exodus has one of their best records to show for it. Blood In, Blood Out is a damn fine modern thrash record, the old masters reforming and returning to show they’ve still got plenty of fire left. Here’s hoping the reunion lasts a bit longer this time…
