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Editorial Reviews
Requiring little to no introduction, thrash metal titans and pioneers of the Bay Area Thrash scene, Exodus, return with the follow-up to what was deemed 'the comeback record of the decade' ( Tempo Of The Damned) by fans and critics alike, Shovel Headed Kill Machine! Shovel Headed Kill Machinefeatures new drummer, Paul Bostaph (ex-Forbidden / Slayer)! Nuclear Blast. 2005.
Customer Reviews
Most Helpful Customer Reviews
26 of 27 people found the following review helpful
Format:Audio CD
(4.5 stars)
The sticker on the cover of Exodus' latest disc, "Shovel Headed Kill Machine," brags that this is the "heaviest and meanest album of their career." This statement is furthered by some rather graphic cover artwork (which is a depiction of a futuristic, bloodied tank shooting while driving over skulls). And from the moment the opening track's punching riffs and pounding drums kick in, the listener knows that the sticker is probably true.
Newcomer Rob Dukes' vocals (which wouldn't be out of place on a Kreator album) are only so-so, but there's enough stellar musicianship to make up for that small flaw. Exodus' tenth album is full of dual guitar shredding (fiery riffs, smoking leads, and extended, wailing, Judas Priest-y solos), and fast, skillful drumming (by former Slayer skinsman Paul Bostaph).
"Deathamphetamine" features fast drumming which is complimented well by blowtorch, rapid-fire guitars, and a breakneck tempo change. Tracks three through six are fueled by catchy chug and churn riffs and thumping drums (plus track three has a long, four part guitar solo), and "Going Going Gone" has a pounding double bass as well as a great, memorable, shout-along chorus (which makes this song probably the catchiest on the album). Next, "Now Thy Death Day Come" includes more pulverizing guitar and drum work, and "44 Magnum Opus" is capped off by a searing solo. Finally, the album ending title cut is another scorcher, with a rocketing beat and still more propulsive, bullying riffs.
So, it's good to hear that Exodus have overcome losing three band members to release a new album. But it's even more exciting that this twenty year old band is, clearly, still at the top of its game. Plus, with all of the thrash imitators flooding the market today, it's downright refreshing to hear a slab of sharp, genuine, blistering speed metal. And, as another reviewer said, if you have nostalgia for old-school metal from the 1980's, "Shovel Headed Kill Machine" was made for you.
The sticker on the cover of Exodus' latest disc, "Shovel Headed Kill Machine," brags that this is the "heaviest and meanest album of their career." This statement is furthered by some rather graphic cover artwork (which is a depiction of a futuristic, bloodied tank shooting while driving over skulls). And from the moment the opening track's punching riffs and pounding drums kick in, the listener knows that the sticker is probably true.
Newcomer Rob Dukes' vocals (which wouldn't be out of place on a Kreator album) are only so-so, but there's enough stellar musicianship to make up for that small flaw. Exodus' tenth album is full of dual guitar shredding (fiery riffs, smoking leads, and extended, wailing, Judas Priest-y solos), and fast, skillful drumming (by former Slayer skinsman Paul Bostaph).
"Deathamphetamine" features fast drumming which is complimented well by blowtorch, rapid-fire guitars, and a breakneck tempo change. Tracks three through six are fueled by catchy chug and churn riffs and thumping drums (plus track three has a long, four part guitar solo), and "Going Going Gone" has a pounding double bass as well as a great, memorable, shout-along chorus (which makes this song probably the catchiest on the album). Next, "Now Thy Death Day Come" includes more pulverizing guitar and drum work, and "44 Magnum Opus" is capped off by a searing solo. Finally, the album ending title cut is another scorcher, with a rocketing beat and still more propulsive, bullying riffs.
So, it's good to hear that Exodus have overcome losing three band members to release a new album. But it's even more exciting that this twenty year old band is, clearly, still at the top of its game. Plus, with all of the thrash imitators flooding the market today, it's downright refreshing to hear a slab of sharp, genuine, blistering speed metal. And, as another reviewer said, if you have nostalgia for old-school metal from the 1980's, "Shovel Headed Kill Machine" was made for you.
26 of 32 people found the following review helpful
Format:Audio CD
In terms of quality 'Shovel Headed Kill Machine' is only marginally better than the last Exodus album, but in terms of thrashiness it blows it out of the water. 'Tempo of the Damned' had too damn much groove, too clean of production, clicky, wussy drums and not enough straight head pounding palm-muted driving riffs to be true, classic thrash. It was thrash, but it was *modern* thrash. Not so here. This is real classic thrash. That's not a recommendation in and of itself, necessarily, but it's pretty rare nowadays, so much so that we got so many people imagining that whatever album or band is the rebirth of thrash. This album provides the clearest reminder that no, none of that modern, core or melodeathified stuff so many people have been ranting over is thrash. But, on the down side, this means we're working in extremely well established parameters, were you aren't gonna find anything new, and it's gonna be pretty tough to top what came before. And it doesn't, but it's still a helluva good time and the thrashiest album of the last 10 years. (That I've heard, anyway.)
The cover says Exodus, but we don't have much of the same band, with only Gibson and Holt returning. Paul Bostaph fills in for Tom Hunting, and easily out does him. (Though this is partially the harder, heavier production on the drums that helps it) Lee Altus joins Gary Holt on the guitar, and this album has easily the finest leadwork of any Exodus album I've heard. Rob Dukes replaces Steve 'Zetro' Souza on the vox (himself two time replacement for Paul 'Worst Singer in the History of Thrash' Baloff) and is sufficiently competent, if not especially remarkable. He does a kinda half-bark half-growl, which is acceptable, but not very dynamic. He's nothing for melody, but has got aggression done pretty well.
The overly clean and sharp production of 'Tempo of the Damned' has been toned down a bit, still plenty clear but a bit more pushed together with a really punishing guitar tone. Now, this isn't to say there was anything horribly wrong with the TotD production, this album's is just about ideal. Well, I think the guitars could use a little more high end, a little less sludge, but it's totally nitpicking at this point. Also, the lyrics aren't as cringe-inducingly juvenile as they were on the last album. They're cliched, for sure, but these are good cliches, and are mercifully free of the 'clever' puns and parodies that were common on TotD. Well, it still has some, actually, but they aren't nearly as lame.
The album opens with the weakest track. 'Raze' has decent vocals and a passably catchy chorus, but the verse and chorus riffs are weak as hell. Still, it's more than passable. 'Deathamphetamine' is the strongest track, and is a beautiful example of the sorta thrash epic that 'Forward March' wasn't. Good, extended intro, tons of riffs and some really stunning lead work, easily the best on the album. 'Karma's Messenger' has a groovier chorus, but it's real catchy and fits in with the thrashing verses nicely. It's also got a great middle break, with shrieking, harmonized guitars over a speeding drumbeat. And, frankly, other than that it's tough to come up with any real standout tracks. Just pure driving thrash from beginning to end. It is somewhat mid paced fairly often, but it never moves into groove-thrash territory. Just solid riffs, solid leads, passably interesting choruses etc.
This is as thrash as metal gets, and probably twice as thrash as anything that come out in the new millennia. If that's what you want, you won't be disappointed.
The cover says Exodus, but we don't have much of the same band, with only Gibson and Holt returning. Paul Bostaph fills in for Tom Hunting, and easily out does him. (Though this is partially the harder, heavier production on the drums that helps it) Lee Altus joins Gary Holt on the guitar, and this album has easily the finest leadwork of any Exodus album I've heard. Rob Dukes replaces Steve 'Zetro' Souza on the vox (himself two time replacement for Paul 'Worst Singer in the History of Thrash' Baloff) and is sufficiently competent, if not especially remarkable. He does a kinda half-bark half-growl, which is acceptable, but not very dynamic. He's nothing for melody, but has got aggression done pretty well.
The overly clean and sharp production of 'Tempo of the Damned' has been toned down a bit, still plenty clear but a bit more pushed together with a really punishing guitar tone. Now, this isn't to say there was anything horribly wrong with the TotD production, this album's is just about ideal. Well, I think the guitars could use a little more high end, a little less sludge, but it's totally nitpicking at this point. Also, the lyrics aren't as cringe-inducingly juvenile as they were on the last album. They're cliched, for sure, but these are good cliches, and are mercifully free of the 'clever' puns and parodies that were common on TotD. Well, it still has some, actually, but they aren't nearly as lame.
The album opens with the weakest track. 'Raze' has decent vocals and a passably catchy chorus, but the verse and chorus riffs are weak as hell. Still, it's more than passable. 'Deathamphetamine' is the strongest track, and is a beautiful example of the sorta thrash epic that 'Forward March' wasn't. Good, extended intro, tons of riffs and some really stunning lead work, easily the best on the album. 'Karma's Messenger' has a groovier chorus, but it's real catchy and fits in with the thrashing verses nicely. It's also got a great middle break, with shrieking, harmonized guitars over a speeding drumbeat. And, frankly, other than that it's tough to come up with any real standout tracks. Just pure driving thrash from beginning to end. It is somewhat mid paced fairly often, but it never moves into groove-thrash territory. Just solid riffs, solid leads, passably interesting choruses etc.
This is as thrash as metal gets, and probably twice as thrash as anything that come out in the new millennia. If that's what you want, you won't be disappointed.
8 of 9 people found the following review helpful
Format:Audio CD
Hey, wouldn't it be great if Kirk Hammett of Metallica realized that his band had literally choked on their own 'superstardom' and rejoined his ORIGINAL bandmates, Exodus, who appear to be only getting better with age. That is, if Metallica's demise hasn't sapped him of his once excellent guitar playing ability. With the departure of Rick Hunolt, Steve Souza and Tom Hunting leaving guitarist Gary Holt as the sole original member, Exodus is now somewhat of a partial 'supergroup' with Lee Altus (of Heathen) and Paul Bostaph (of Slayer and Forbidden). Holt and Altus definitely click on the dual guitar attack. New vocalist Rob Dukes sounds a little high-pitched at first (as evidenced on 'Raze') but settles in nicely as the album progresses. Standout tracks include 'Deathampthetamine', 'Karma's Messenger', 'Altered Boy' (a cool pun on 'altar boy' attacking pedophile priests), 'Going Going Gone' and '.44 Magnum Opus', but really I like 'em all.. So I'd say that that this version of the 'Exodus lineup' is an interesting one, but that does not take away from the fact that the latest album is noticeably more brutal than the previous 'Tempo Of the Damned', also a personal favorite. So Kirk, what do you think of coming back to where you started. At this point Exodus is a brutally unstoppable thrash machine. But once again, I'm just wondering how a guitar duo of 'Holt and Hammett' would hypothetically sound like today if they were to re-unite. Anybody ever thought of that? An awesome release!
Most Recent Customer Reviews
Buy it
It's worth buying, but it's not at the level of Tempo, or Exhibit A or B IMO. This was also the first release without former key people.
Published 10 days ago by D. Kaley
A good album with great production quality
I'm pretty much writing this review because I've had this album for about 3 years and I just found out a couple weeks ago that you can get the Japanese bonus track "Purge The... Read more
Published 1 month ago by Brandon Thomas
Pure Thrash!
Exodus still thrashing at the top level! this is one of the original 4 with slayer,metallica & megadeth. Read more
Published on April 5, 2010 by Zachary C. Mcmurray
I could take it or leave it
This album just barely scrapes by with three stars for me. Someone tell Rob Dukes to stop trying to sound like Zetro with an "edge". He needs to discover his own identity. Read more
Published on March 2, 2010 by Take No Prisoners
This one's brutal!
Exodus is back with an amazing rap killing, hip hop destroying, techno massacring thrash powerhouse album. Read more
Published on September 3, 2009 by Deimos
Bostaph does it again!!
I'll admit I haven't followed Exodus, but ever since hearing Paul Bostaph on Slayer's 1994 album Divine Intervention I've bought everything he's played on - by far my favorite... Read more
Published on May 22, 2008 by M. Howes
Revenge On Rapp, Grunge, and Sell Outs
I'm at a point in my life where listening to music like this goes against my nature. But that said, this is a really great record. Read more
Published on May 5, 2008 by Bradley Headstone
Destroys everything in it's path. 5 stars!!
I bought Exodus's 2005 release "Shovel Headed Kill Machine" just last month, and I really love it alot. Read more
Published on December 11, 2007 by Jeremy Brackeen
Such a good album but don't be mislead
Everything good about Exodus is here. Such raw aggression but never corny. My favourite since Bonded actually. Read more
Published on November 22, 2007 by Andrew Williams
Fargin' A.......................................................
This CD has definitely grown on me and kicked me in the grill more than once. First off the drums on this album absolutely dominate. Paul Bostaph put in some overtime on this one. Read more
Published on November 15, 2007 by J. Marsh
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