Released: 2014, Nuclear Blast Records
Reviewer: Helias Papadopoulos
What would you say if I tell that a classic thrash metal band records a new studio in Bay Area. “It would be a masterpiece, isn’t it?”. That’s exactly what I thought when I was told that Exodus would record their new album BLOOD IN BLOOD OUT right there. And the result is a great masterpiece of thrash metal.
Let me say some words about the previous years before I go to this album review. During the last recording period, Exodus were been through significant changes in line up. First and foremost, Steve 'Zetro' Souza was replaced by Rob Dukes, who was ... even indigestible for many fans, because Exodus evolved into quite a different band with Rob behind the microphone. SHOVEL HEADED KILL MACHINE and both both "EXHIBITS" –were great, but Rob Dukes break several fans. Even those albums were good, the data have been rather divisive for fans, and the re-recordings of "Bonded By Blood" (OMG!) It was a movement simply inexcusable. Secondary occupations of their members have created and built a fair comparison as question marks. Personally, I found THE EVOLUTION OF CHAOS by Heathen (see Lee Altus) and better than the three aforementioned works of Exodus, and correspondingly enjoyed more the Dukes in Generation Kill, and particularly in the last year WE’RE ALL GONNA DIE, with fixation of the Holt in Slayer…those were the thoughts that reinforced this (my) sense of neglect.
This year, however, finds the Exodus aspire to overthrow the balance of the tenth full album. Take care, not to ignite our interest since the playful title, associating it with that of the "Bonded By Blood". Use also the return of the “hot” 'Zetro' (which gave excellent examples of last year with Hatriot), but weighty and guest appearances of Kirk Hammett and Chuck Billy, in order to provoke and - the looming return to more traditional forms.
Listening to BLOOD IN BLOOD OUT, you realize quickly that their purpose at hand is based. The style is reset to more bulk "thrashology" and built into simpler structures against the more technical and more complex development of the three predecessor referring directly or in pure old school situations or to their involvement with the synthetic orientation "Tempo Of the Damned "and newish subsequent course of the band. The "Black 13", "Blood In, Blood Out" and "Collateral Damage" to punish their speeds (no coincidence that opening up the triad), while the "Salt The Wound" can be distinguished by its historical involvement Hammett, however, hardly be mentioned among the top of the album. Similarly, the lord featuring Chuck Billy does not offer anything special in –all in all not so good- "BTK", the essence lies in the monstrous "dance» groove of "Numb", the already packed Heathen-ised melodies in "Wrapped In The Arms Of Rage "and" Food For The Worms "that closes the disc with the appropriate brutality.
In the end, the intentions of the band hiding in plain sight, with lyrics - statements like «Tonight we're gonna rage and make Paul Baloff proud», although it reached the presence of the word «Blood» in the title of the album alone. The aspirations of revival time debut is clear and, although this is not carried out in full scope, the effort seems at least partially successful. And if the hourly during the act once again inhibitory, combined with the presence of some THIN ... filler moments ("Body Harvest", "BTK", "My Last Nerve"), as they do not affect negatively irreversibly "Blood In, Blood Out", which eventually perhaps be the best we could expect from the Exodus in the year 2014.