EXODUS – Goliath

This time around, we didn’t have to wait too long for a new Exodus record, as the usual gap between releases tends to be much longer. Still, quite a lot has happened over the past five years: Steve “Zetro” Souza parted ways with the band just before the recording of Goliath, the Bay Area giants’ 13th studio album, which also marks the return of Rob Dukes after several years.

 

The rest of the lineup remains unchanged: Gary Holt, Tom Hunting, Lee Altus, and Jack Gibson have been holding it down as always, steady and brimming with ideas, eventually welcoming Dukes back into the fold to bring Goliath to life. So, what should you expect from this album? Certainly not groundbreaking innovation. However, this isn’t Exodus going full-throttle thrash from start to finish. Instead, the band sounds more diverse, leaning into groove and even some experimentation, while maintaining their trademark aggression with a rougher, more rugged edge.

 

The album kicks off with 3111, an atmospheric intro that transitions into thrash territory but remains more evocative than memorable, followed by Hostis Humani Generis, a straightforward, no-frills assault as traditional as it gets. The Changing Me (featuring Peter Tägtgren) introduces more open melodies and an almost anthemic approach that works, though it might catch some listeners off guard. Promise You This goes for a catchy, accessible groove, while the title track Goliath stands out as the most controversial moment: slow and heavy, infused with doom influences and unusual elements like violin, it’s undeniably intriguing but also feels somewhat out of place compared to the rest of the record—offering a dual interpretation that could easily divide listeners. Beyond The Event Horizon brings the energy back with a more technical and dynamic structure, while 2 Minutes Hate sticks to a solid mid-tempo that doesn’t quite leave a lasting impression. Violence Works surprises with almost funky grooves and creative rhythmic ideas, and Summon Of The God Unknown emerges as one of the album’s highlights—long, epic, and steeped in dark, Sabbath-esque atmospheres. Closing things out is The Dirtiest Of The Dozen, a classic thrash track that gets the job done without adding anything particularly memorable.

 

Could we have expected more from Exodus? Not really—and honestly, that’s a good thing. It means they’re still in great shape. With an old-school band like this, it’s all about appreciating the skills that continue to deliver, and Goliath is proof of that. The stylistic foundation remains intact, enriched with a few extra elements that may feel jarring at times but also showcase a genuine effort to evolve within the modern metal landscape. In the end, from a name this important, a complete disappointment was never really on the table.