Review Summary: Take all your preconceived notions about thrash metal and hit yourself over the head with them.
One of the greatest, yet unnoticed mistakes in establishing an opinion over a certain album is to compare and base it around a previous landmark in musical history, usually by the same artist, but not necessarily. Many would argue that it is essential to have some form of perspective when judging how successful an album is, and mathematically, it is possible to draw conclusions with the use of one invariable and the album that is being reviewed. The difference extracts the answer to your wondering. Perspective is crucial, but perspective that is narrowed to down to one object is most likely to lead to inaccuracy.
First and foremost, I would like to make one thing clear.
The Atrocity Exhibition: Exhibit A is not
Bonded By Blood. It’s not a remastered
Bonded By Blood, and it’s definitely not playing tribute to an album that stands as a monument for the Bay Area Thrash explosion. This release isn’t either an anomaly, which churns out something completely devoid of Exodus’ marked traits, just in order to solicit some kind
of diversion. There is nothing to deviate from; this album isn’t going to pretend it can be their 1986 opus, even though the quality, hypothetically, could be right up there. Although such a comparison may be unwarranted vis-Ã*-vis the various differences in style, Exodus are not taking the same route as say, Ulver, who have presented several swerves throughout their discography. The deal is, Exodus, having pioneered the Thrash genre, can’t afford to make wayward steps, and they know it.
But my thoughts have only but amassed into hypothesis. As I listen to Exodus’ latest, there seems to be a certain restless scrimmage which overbears the sound. If I hadn’t known better, I would’ve said the album was nothing more than a generic effort from any underground heavyweight band. But no, this is Exodus, almost 20 years after their debut album, and the change is conspicuous. Let me now go on to making clear that I am in no way going to make any comparisons based on purist demeanor. To be fair, I haven’t heard any other Exodus material so I do not know whether half their career was greatly lulled by lackluster efforts from their part, or whether (I believe so from what I gather) there were a few releases which were actually notable in the progress of the bands career. Regardless, things are about to get wild.
Almost instantly, the opening track
Call To Arms, throws me off course. Introduced by beating drums, it is then replaced by a very pleasant riff, which in turn is inevitably layered. You would think it was off to a good start, but
Riot Act blasts out to be one of the most sub-par songs on the album, where the overbearing distortion creates bland and uninspired riffs and slides. A botched attempt at sounding chaotically out-of-place is then followed by
Funeral Hymn, where I am overwhelmed by a feeling of déjÃ*-vu. This song is almost a mongrel of
Riot Act and every other song, juxtaposing carbon copied palm muting patterns and two-stringed plucking. The mishap that is Tom Hunting’s drumming, literally jerks the limelight and takes out its batteries, as it is pretty much never does anything to the time signature, let alone is it actually capable of taking up its position. So where do I start with palm muting. It’s really starting to wear off, just as much as breakdowns. I guess it is taken as granted, acting as a fundamental base for everything else.
Children of A Worthless God reeks of such an excess of palm muting. By the time I’ve listened to half the album, I’m relatively bored.
As Soon As It Was, It Shall Be only affirms one thing, and that is, this album is plagued by repetition, insipidness, and further repetition. Although the solo is quite enjoyable the generic tempo on this song in particular is enough to bore the hell out of me. If that isn’t enough, the length of most songs ranges from 5-10 minutes. The title track is, hands down, horrible. I won’t even go into detail, because it is something that must be listened to. It is basically a really weird chord hit over and over quite rapidly, and a slower section which compensates the hideousness that is this title track. This song is 10 minutes long, and frankly, not a minute too long!
The greater moments only just come streaming in as Iconoclasm takes over my speakers. It’s the most consistent song on the album, if you will, but it is tainted with repetition akin. But all else, save for maybe Bedlam 123, points to the obvious decadence that this band has succumbed to. It is easy to see, why after 20 years in the music-making biz, Exodus have reaped what seamed. The fact that the band won't even bother to differentiate each song invites you to take all cliches about thrash at your disposition and smack yourself over the head with them. Simply put, the freshness that was present on earlier releases is hardly retained during this 59 minute somnusfest.
Recommended Tracks:
Streaming Link: http://www.myspace.com/exodus
