Review Summary: As if Tempo of the Damned had been put on pause — and then resumed years later without missing a beat.
Starting in 2011, the Exodus roller coaster began to slow down. The main reason for this was Gary Holt’s schedule. From that point on, he started playing as a live (and later full-time) member of Slayer, which completely changed the band’s dynamics. Holt was now splitting his time between two thrash giants, dealing with extensive tours and heavy commitments (naturally slowing Exodus down).
On top of that, after three albums with Rob Dukes, there was no immediate pressure for new material, and the band settled into a more spaced-out rhythm, focusing more on touring than studio work. Another key factor was creative fatigue. To some (me included), The Dukes era leaned toward a more aggressive and modern sound, at times drifting away from the classic style that defined the band. Over time, this created a need to reassess direction — both artistically and strategically.
Dukes’ departure in 2014 wasn’t the result of any explosive public conflict, but rather a strategic internal decision. According to Holt, the band felt it was time to reconnect with its classic identity musically, visually, and in terms of fan connection. The return of Steve "Zetro" Souza fit perfectly into that plan.
And that’s where Blood In, Blood Out finds its core identity: it sounds like the natural successor to Tempo of the Damned. As if the time between the two albums simply didn’t exist. The approach, the riff structures, and especially the vocal performance all create a strong sense of direct continuity, as if the band had paused back then and picked up exactly where it left off.
Musically, the album is thrash metal in its purest form: high speed from start to finish, razor-sharp riffs, relentless double bass drumming, well-placed breaks, and those gang vocals that give several tracks a near-anthemic feel. All of it supported by a clean, modern production that highlights each instrument (but the bass as usual in metal) without sacrificing weight.
In this context, Zetro sounds especially inspired, delivering a wild, raw, and energetic performance that strongly echoes what he brought to Tempo of the Damned. And that brings up the eternal question: who is the best Exodus vocalist? Paul Baloff, Zetro, or Dukes? I’ll go with Zetro without hesitation.
The album kicks off with Black 13, opening with a modern intro featuring Dan the Automator (producer, composer, and a known name in alternative hip-hop). He delivers a spoken-word narration that sets a dark, almost cinematic tone before the track fully explodes around the 1:30 mark — and from there, Zetro tears everything apart. The song is faster than the speed of sound!
Next comes the title track. I could go as far as saying this is one of the best — if not the best — thrash metal songs of the 21st century! It’s that good. From Tom Hunting’s outstanding drum intro to the fantastic main riff, the song delivers on every level.
The lyrics deserve special mention. They revolve around the idea of absolute, almost tribal loyalty, where joining a group or way of life is a one-way commitment. The phrase “blood in, blood out” reinforces that code: you enter through blood, and you only leave the same way. The song explores themes of belonging, violence, honor, and consequence with a direct, aggressive thrash approach.
The tone is confrontational and declarative, functioning as a true anthem — both within the song’s narrative and as a statement of the band’s identity. And there’s even a touching tribute to Paul Baloff (hey, I don’t like him as a vocalist — that’s all it is):
Bring your anger!
Bring the mayhem!
Anything you do is allowed
You're the kings of pit insanity
Tonight we're gonna rage
And make Paul Baloff pround
One of the most symbolic moments on the album appears in “Salt the Wound,” which features a guest solo by Kirk Hammett. His lead fits naturally into the track, never sounding forced or merely decorative. More than the musical contribution itself, the weight lies in its meaning: a former member of Exodus in its early days, Hammett returns decades later for a guest spot on an album that deliberately reconnects the band with its roots. The result goes beyond fan service, acting as a direct link between past and present within the music itself. Nice touch, guys.
“Body Harvest” alternates fast-paced riffing with a more punctuated, almost staccato-like chorus. Steve "Zetro" Souza sounds absolutely unhinged on the refrain, while the gang vocals come in strong — in true genre fashion — elevating it into another standout track. Meanwhile, “Collateral Damage” stands out as one of the most direct and politically charged songs on Blood In, Blood Out, showing Exodus in full confrontation mode. The lyrics revolve around the idea that ordinary people are disposable within systems of power. Musically, it’s one of the most intense tracks on the record, with relentless speed and almost no breathing room, reinforcing a sense of urgency and anger. The result is a song that doesn’t just criticize the system, bit it declares war against all the bull***. BTW: the long instrumental part is heavy and beautifull at the same time.
Unfortunately, while the first half of the album concentrates its strongest and most memorable moments, the second half doesn’t quite maintain the same level. It’s far from weak, but there’s a slight drop in impact, with songs that feel less striking compared to the opening stretch.
In the end, Blood In, Blood Out is absolutely worth a listen. Even if it doesn’t sustain the same level from start to finish, it remains a solid, well-produced record with a modern approach that never abandons the roots of Exodus. There’s consistency in its vision, plenty of weight, and genuinely memorable moments — more than enough to overcome its minor flaws and stand as a relevant chapter in the band’s later career.
