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Functional but useless - 30%

Napalm_Satan, August 21st, 2015

Let there be Blood is a much maligned effort from Exodus, and with good reason. It is a re-recording of their seminal and beloved debut album Bonded by Blood, as the cover art and title suggest. It is by no means their worst release on a musical level, but that doesn't take too much effort as the hard work has already been done and a lot of Exodus' latter day output is terrible. It is also one of the more redundant and pointless examples of re-recording old songs. It isn't as thoroughly useless as Testament's First Strike Still Deadly as the entire thing features a new vocalist, and it does turn out a lot better musically than Anthrax's The Greater of Two Evils as the band stick much closer to the originals here. Nevertheless, this is rather skip-worthy whether or not you're familiar with the original album.

The main reason for this re-recording's existence according to the band is to give the material the benefit of modern recording techniques and production. This is the one positive these versions have over the originals; the songs sound notably heavier and punchier than the old songs. The issue however is that despite sounding heavier, clearer and louder than before the music is nowhere near as violent as it once was. The instrumentation on this album is delivered with a lot of faithfulness to the originals but it all sounds very tired and forced, somehow. Not helping this is that the production is so slick and the guitars are so chunky and muddy that it strips the riffs of a lot of the abrasion and nimbleness they once had; they don't sound nearly as aggressive as they once were. The guitar is also tuned a lot lower than before, making the riffs sound not quite right (the first few seconds of 'A Lesson In Violence' are a prime example.) Other songs here are played more slowly than the originals, most notably 'And Then there Were None' which turns the song into a boring groove metal chugger and makes it sound off and wrong. The solos are mostly faithful to the originals and serve as the bright spots here, but they aren't enough to save the songs.

Of course, much worse affected than the instrumentation is the vocal performance. In place of the dearly departed icon Paul Baloff, Exodus' then current vocalist Rob Dukes takes the helm. I'll admit that I prefer him to Zetro (but that's more because I find Zetro to be a comically bad sounding vocalist) but he is certainly not the one to fill in for Paul. In place of the original album's totally unhinged, unbelievably aggressive shrieks and shouts we get a very generic metalcore/groove metal/hardcore yell. He is by no means bad and does fit the modern-sounding music well but it's not as if his approach shoots for a different feel than Paul's - he goes straight for aggression and volume, meaning he has to be compared directly to Paul's performance as he did the same thing; and in every regard Rob delivers an inferior performance.

And that is the critical flaw of this release; even with modern production this is an entirely inferior facsimile of the original that doesn't offer anything but decayed remains of what Bonded by Blood did. Had this music been novel this would be a pretty decent if unspectacular modern thrash album that showed a lot of promise, but instead it sits in the shadow of what it copies and offers very little that's new, and what it does do differently harms the music a lot. The only real bright spot here is 'Hell's Breath', a song that never made it onto the original album; this version does sound considerably better than the rough demo from 1983. Downloading that song and skipping out on the rest of this is the way to go, as nothing else here is worth listening to - just find the original album instead.

All hyperbole aside... - 40%

hells_unicorn, November 19th, 2012

Like many fans of old school thrash metal, I'm not particularly big on the concept of rerecording an entire classic album, especially given the inherent inferiority of modern thrash recording techniques. This isn't to say that all modern sounding "gray" thrash metal is necessarily bad, but it largely pales in comparison to the rawer, leaner and meaner approach that ruled the tape-trading world in the 1980s. However, Exodus is definitely treading in dangerous waters in attempting to rework their magnum opus "Bonded By Blood" with the same approach that gave us "Shovel Headed Kill Machine". The sound on said 2005 Exodus album, which has since become the standard of their present sound, is possessed of a certain level of charm from a standpoint of sound levels and heaviness but doesn't really work well within the template of 80s thrash.

It has been stated that this inferior rendering of "Bonded By Blood" dubbed "Let There Be Blood" is borderline metalcore, which is true in a sense, but also somewhat deceptive. This is more along the lines of what a metalcore band attempting a modernized version of retro-thrash would sound like, and the result is very different from a typical Trivium or As I Lay Dying album. You can hear some frightening similarities between the vocalists of both those groups and Rob Dukes' gimpy, pseudo melodeath shout; a sound heavily borrowed from the Anders Friden catalog of the early 2000s, but otherwise the character of the music is a bastardized, yet clearly non-metalcore take on the style. The formula has varying degrees of offensiveness, the worst offenders being the slower songs like "No Love" which listen like a mishmash of mid 90s Pantera worship with a sliver of 90s Overkill when the tempo picks up.

By the same token, when the faster and somewhat more busy songs are in question, this album starts to take on something akin to a poor man's "Bloodletting" or "Necroshine". Specifically on "Exodus", "Metal Command" and "Piranha" the feel is a bit more agitated and manages to work a little better with the modern production character, almost as if channeling some of the stronger elements of recent works along the lines of what Heathen and Death Angel have been putting out, or at least that of Dublin Death Patrol. From a purely instrumental standpoint, everything is in good working order, from the wild guitar soloing to the bruising feel of the riffs and the battery of the bass and drums. Nevertheless, the fatal flaw in all of this is that even when at its best, this album shouts out the shortcomings of its stylistic attributes in relation to the original versions of these songs, as if an elaborate art work that confesses its own lack of purpose.

It can be said with confidence that this album came out as good as it could have given the musicians involved and the professed goal of modernizing the songs of "Bonded By Blood". The problem lay in the very concept of trying to modernize a classic and legendary album in the first place, not to mention tapping an inferior vocalist with the task of filling the shoes of the dearly departed icon Paul Baloff. Anyone who has heard the original album in question and treats it with the level of devotion that it is worthy of will not be able to get much enjoyment out of this, though it wouldn't be impossible for younger fans who just recently discovered Bay Area thrash metal through the present works of several reformed outfits from the 80s to like what's on here. If it weren't for these songs already existing in a superior form and the fact that Rob Dukes isn't a convincing front man, this could maybe pass for a 2nd rate 90s Overkill album, but as is it isn't really much to even sneeze at, let alone blow money on.

"It Smells Like Fucking Shit..." - 0%

SurvivedAbortion1, November 26th, 2011

Every time this insult to the real album, Bonded by Blood, is sold, the mighty Paul Baloff rolls over in his mother fucking grave.

First and foremost, my biggest complaint (among many others): Rob Dukes. The “singer”. Why? He sucks. Hard. He belongs in a screamy mallcore band, NOT a legendary old-school thrash outfit. He couldn't sing if he had to: No range, emotion, skill, anything that makes a vocalist a GOOD vocalist. His vocals are just mindless screaming that have an uncanny knack for penetrating into the migraine centers of my brain with ease.

This has to have been explained by previous users, but just for the sake of assertion, I'll still allude it: The early 80s lyrics were not meant for 2008 musical performance and studio production. In the words of a man you might have heard of named Lars Ulrich, "If you heard bands like Korn back then, you'd have lost your lunch!" It's just that with the lifeless, mechanical, crystal clear production, the glaringly slowed pace, the low, mile-thick guitar tone, and everything else not 1985 about this album makes the original lyrics, just, not fit. I suppose you'd have to hear it to fully understand the sentiment. Also regarding the lyrics, in case you're wondering what the title of my review is making reference to, it's Rob's cute little improvisation at the end of No Love, after the iconic closer Paul once delivered "Your body starts to smell!", Rob throws in a redundant, profane travesty for the teenaged listeners, "It smells like fucking shit!"

My third biggest complaint: This album's ambiguity. I hope there's no need to remind you that thrash is no stranger to being obscure, especially the kind that is so underground that the fans haven't even heard of it, but this, this is just a waste of the vinyl it's printed on. It's a pointless mockup thrown together without any real purpose other than making money. The original album was just fine. This is nothing but a sellout. A shameless, pointless, cash-in. I know that the appropriately named atrocity that preceded this and its predecessor, Shit-headed whatevertuffguybullshittheynamedit, could be described as a mallcorish sellouts as well, but trust me when I say that this is worse.

All in all, unless you're a fifteen-year-old metalcore fan looking for something with "OMG, soo meny gitar soloz!", this really sucks. Please refrain from buying it, for if you do, you're just playing into its only real purpose. If you don't want to take my word for just how horribad it really is, just search "Exodus Let there be blood" on YouTube, and prepare to get really, really angry.

RIP Paul Baloff.

Their true Atrocity Exhibition - 6%

MetalThrashingMad, June 18th, 2011

Woooohoo this is bad... not like Reanimator or Acid Reign bad, I'm talking like Metallica S&M bad; almost like they should have been aware of their wrongdoings, yet they knew better and carried on anyways.

First off, Rob Douche has the most mismatched vocals I could imagine for this re-recording. That may be a stretch, but his vocals are over-the-top-mallcore-grunting-stump-fuckingly bad. His entire vocal approach does not suit this genre of music, let alone a re-recording of one of the most legendary and ground-breaking metal releases of all time.

Secondly, and just as importantly, the tempo/drum performance. Come to think of it, I resent Tom Hunting's drum performance more than the douchy vocals. What was he thinking? Since when does anyone re-record a thrash album at 3/4 the pace of the original? His drum set actually sounds good; the bass drum is nice and audible and eq'd well, all the cymbals aren't too loud or overwhelming and the snare is crystal clear. Regadrless, he failed miserably as his job. The original songs kicked 100 different species of ass the way they were, and changing the formula they started using 25 years ago is truly an unspeakable act against humanity.

The guitar tone. I said I loved the tone on "Another Lesson in Violence" so I shouldn't be hypocritical and say I don't like the tone on this album. The tone on the live album was a fresh sound at the time (1997) and had a lot more solid-state sound to it, but that's another story. I think the guitar tone on LTBB was a poor choice. It sounds like most other guitar tones I've heard on every other mainstream and thrash metal album for the last 10 years. Buy a guitar with emg's, buy a Mesa rectifier, turn the gain knob to 10 and voila! Hissy, muddy, fuzzy guitar tone that has no unique character whatsoever. For most newer bands I wouldn't really care so much, but for a band that pioneered a genre that so many of us hold dear to out hearts, I think it's totally unacceptable.

The production. Many people I've spoken to about this would argue that the production on the re-recording is "better." The guitar tone is clearer, the drums and vocals are more audible, and the overall noise due to cheap recording equipment has been eliminated. Yeah, the same could be said about the new Trivium album, only their guitar tone is better. The overall tone LTBB is so ordinary, so regular, so devoid of any real character or anything that sets it apart from every modern core band nowadays it almost angers me. Take the production from Bonded By Blood. It's noisy, every instrument is a bit on the sloppy side, and Paul obviously had his way with the echo knob on the soundboard. The guitar panning is for all intents and purposes non-existant, and you can barely hear the bass. It's also original, raw, angry, inspired, has tons of energy and it makes you bang your head as if up from the fucking dead. Or it does mine, anyways. It has character. It's unique. You listen to any 2 seconds of that album and you know damn well what it is. I think this new recording deserves so much more as far as the production went.

The magic that the original Bonded by Blood had was completely and entirely lost when Let There be Blood was recorded. The production is so ordinary, the drumming sucks, and they used the wrong vocalist. If you're a fan of any type of underground 80's metal, or anything that Exodus stood for in the 80's, don't bother buying this album. You will probably regret it.

I won’t play no games wit you pussy niggaz - 60%

flexodus, February 16th, 2011

A poem:

I won’t play no games wit you pussy niggaz,
I fuck round pull dat thang on you pussy niggaz,
I’m too clean to try ta swang wit you pussy niggaz,
I b-bang b-bang bang on you pussy niggaz.

A review:

So Exodus, like so many thrash bands today, realized that their glory days are long gone, lost amidst the cutoff sleeve bootleg shirts and whitewashed high top sneakers of ages ago. So as a break from their good-but-not-always-great modern material, they give us this little album: a rerecording of Bonded by Blood. Good news? Bad news? A cash in? A disgrace to the band’s legacy? What to make of it? Certainly, many ventures into reliving older material have failed miserably (take Testament’s shameful First Strike Still Deadly compilation, that Anthrax album that probably gave its listeners Down syndrome), but let’s take into consideration the factors at play here.

1). According to my research, this is an Exodus album. It features original members guitarist Gary Holt and drummer Tom Hunting, as well as somewhat long-time bassist Jack Gibson. The two newest members are Heathen’s own Lee Altus, and controversial new vocalist/scary bearded man Rob Dukes. These musicians perform under the name Exodus and play many songs made famous by Exodus, so I must conclude that Let There be Blood is an Exodus album.

2). For all intents and purposes, this album is Bonded by Blood, the greatest early thrash metal album of all time. The song titles are all the same as that hallowed album and the album art is some sort of modern reimagining of whatever the fuck was going on the original cover. So, through use of my calculus and biotechnology skills, I have determined this album is basically Bonded by Blood, but for a third time.

Now who the FUCK has a problem with this? Pussy niggaz, that’s who. Let’s delve further.

This album rules, plain and simple. Looking at how the majority of the metal scene has wholeheartedly deemed it unworthy of licking Paul Baloff’s dead scrotum skin, I can’t help be baffled. I went into this album expecting some complete travesty, some sort of Hatebreed-styled chugathon (that’s what newer Exodus sounds like, right? Right?) replete with bro-tastic breakdowns in place of midpaced riffs and throwaway speedy Holt-isms completely besmirching the good name of the album. After all, they already rerecorded the entire album on Another Lesson in Violence, did anybody really need it again? Well, when you get right down to it, yes. Yes, we did.

Let There be Blood is hardly a deviation from the original 1985 album, nor the 1997 live album. All the riffs are still there, just as sharp and jagged as they once were. All the solos are still there, all meedly-meedly-moo like. The drumming is precise and pounding, the bass is low and grinding. Compared to the other versions, I’d liberally estimate that this album is perhaps 5% or 10% slower. Sound bad? NO is the only accepted answer, because Exodus has always been just as good (perhaps even better) at midpaced, groovy riffs than at faster ones. Remember “And Then There Were None” and “Deliver Us to Evil”? Or ANY album they did after 1985? They were all groovy as gravy, so this rerecording sounds quite par for the course for the band. The new versions of “A Lesson in Violence” and “Pirhana” are perhaps the most middling tracks here, solely due to the speedy ferocity of the originals compared to the slightly tamed interpretations here. Tom’s drumming on these tracks appear to be the main problem: they don’t quite beat you over the head with his impeccable *bassSNAREbassSNAREbassSNAREbassSNARE* thrash beats we’re all familiar with and expect from these tracks. Instead, they’re a bit more lax and less rushed, allowing more room for the tracks to breathe, even though these are tracks that should NOT have room to breathe; they should be rushed and fast and fearsome and incredibly fucking urgent. This is a FAST EXODUS SONG, so I should be FAST EXODUS STABBING and FAST EXODUS RAPING all throughout the whole thing. No time to waste, Tom!

So if the faster songs aren’t quite this album’s strong suits, what are? Pretty much all other aspects of it, really. The one-two-three punch of “Bonded by Blood,” “Exodus” and “And Then There Were None” is brilliant. The songs don’t sound tired or overplayed at all: they’re still vicious, rabid and fucking thrash. The title track hasn’t lost a step since 1985. That iconic riff, played in the perfect tempo to complement Tom’s drumming (fast, but not FAST EXODUS FAST) and then bang bang bang BLOOD UPON THE STAGE. I’ll make note of the guitar solos: they’re spot on! Gary Holt does his thang, but newcomer Lee Altus fares brilliantly as well. I’m not sure exactly how large of a presence previous guitarist Rick Hunolt had on the songwriting process or general personality of Exodus, but Altus is more than welcome to replace the man. Well-versed in Bay Area-isms, Altus doesn’t miss a beat. BLOODY CORPSE MAKES ME FEEL GREAT. Yeah. The ancient “Hell’s Breath” has a decrepit NWOBHM feel in the soloing and riffcraft, which certainly benefits from Lee Altus’s Breaking the Silence sound.

I’ll tackle the two greatest complaints leveled against this release: the production, and the singer. I can see how the crunchy, fat, modern guitar tone might put off some veteran thrashers, but the sound works brilliantly over all. I mentioned the general groovy-graviness of Exodus earlier, and this retardedly heavy production benefits the album greatly. It’s reminiscent of a cleaned-up, studio version of the production on Another Lesson in Violence, really. Any cursory listen of that album will clearly demonstrate what can only be the late Paul Baloff’s utmost approval of the production on this album. “Why do you want to be so heavy?” the pussy niggaz ask. “Hehe, why so heavy...” Paul chuckles, brushing off that question because it’s a stupid one. The heavy production does not strip a single riff of its original bite, does not lessen a solo to anything beneath greatness. Songs like “Metal Command” and “Strike of the Beast” still make me want to rage uncontrollably like a maniac, so I’m rather confused when fans claim this release lacks the energy and vitality so important to Exodus. I assure you, this album is replete with the thrashing vigor you so rightfully expect of this band. Trust me, I’m TheExodusAttack.

And for Rob Dukes? Well according to Youtube, he’s a crazy fat homeless man that Exodus hired as a singer in what must have been a bout of drunken bad decisions. And god damnit, if that doesn’t sound like the most EXODUS thing the band could have done, I don’t know what is. Rob Dukes has a particularly vicious and screechy sound that is perfectly befitting of these songs. Honestly, his vocal performance is pretty damn similar to Baloff’s: enraged in a wild, foolish way, gleefully spewing violent anti-poser rhetoric at the listeners. The phrase “hardcore tuff guy” is thrown around a lot when describing him, and although not inaccurate in terms of the way he looks (bald head, tattoo sleeves and that BEARD), he certainly doesn’t sound the part. He sounds like a screechy, raspy thrash metal singer. His method of singing is far more appropriate for Baloff-era songs than Steve Zetro’s ever were, god bless the man. Nothing sounds out of place when Dukes screams “THEIR BODIES, THEY BURN AND BLEED UNTIL THEY BOW, MY WORDS THEY HEED!” The man channels Baloff in all the right places, it all works out very nicely.

You know what the best way for me to describe the overall sound of Let There be Blood? It sounds like a live Exodus show. If you’ve seen Exodus play within the last three years and enjoyed it, you will have no reason not to enjoy this rerecording. Those defining solo passages still slice you to the core, the riffs still rape and murder you wife, and the drumming still does something else quoted from Bonded by Blood. Of course, if you haven’t heard that album yet, the original and 1997 live album are of higher priority than this release: I would generally recommend seeing Exodus play live as an alternative to this album. But if that isn’t an option for you, and you want to know what those Bay Area heroes sound like in concert nowadays, I’d wholeheartedly recommend picking this up if you can get it for a cheap deal. The main reason this album is so great is because the original is nigh-perfect, but that doesn’t make this release any worse. Let There be Blood isn’t completely necessary to a thrash collection like the original or Another Lesson in Violence, but the music, production and general enjoyment factor of this release is high. In other words, nearly all the complaints leveled against this album are incorrect: it is worthy.

Ya'll niggaz ain't real, ya just some play play...

An embarrasment to Metal - 0%

Visionary, November 29th, 2009

Bonded by Blood was a milestone in thrash and widely considered as one of the best thrash albums ever recorded. These sorts of albums that really have no room for improvement are best left alone. Exodus however, decided to re-record it anyway claiming it as a tribute to Paul Baloff. Exodus’ sound has changed dramatically over the years and Exodus was faced with the challenge of bringing a slightly different flavor to the original but without tainting the original. Unfortunately Exodus has changed so much in sound that this shares almost nothing that made the original so enjoyable and there is nothing new they added to it that is enjoyable.

First of all the production is modern. With how Exodus have been producing their albums over recent years this not surprising, nor is it necessarily a bad thing to have a heavier more modern production. Unfortunately this does not suit the songwriting for Bonded by Blood. The songs are written for a slight NWOBHM flavor like many other thrash albums that were being released in 1983 and 1984, so the heavier, crunchier production does not suit the songwriting. It needs higher tuned guitars playing very fast and catchy rhythms. Let there be Blood is completely devoid of the fast galloping rhythms that helped make the original so great due to the modern, crunchy production.

The intensity of fast rhythms and wild solos has dropped down a dramatic amount with this re-recording and it just sounds like a band now that is uninspired and just trying too hard to sound a certain way instead of just playing and having fun. One of the most enjoyable things about the original is that Exodus was having fun, and the music sounds real and inspired. There is this sense of uncontrolled wildness that you just want to go crazy when listening to it. All that is lost in Let there be Blood. It just sounds too controlled and lifeless. Piranha, for example was a song with a really fast tempo on the original and made me want to just go crazy; basically thrash. Now the re-recording just goes in one ear and out the other as the tempo is slower and has absolutely zero intensity. My head is not even nodding along to this one.

The other huge problem is Rob Dukes. Sure he is a problem on just about everything he has done with Exodus but his dry, monotonous, tough-guy shouts is just so unfitting for Bonded by Blood. Paul Baloff was wild, untamed with a very over the top style that was just so fitting. It added to the craziness and catchiness perfectly. Dukes’ part modern hardcore style vocals is just so unsuited for fast, and catchy thrash riffing and with him behind the mic Exodus should continue with their groove sound instead of trying to be thrash again. Another Lesson in Violence is a perfect example of where Dukes fails. The chorus of that song is just so memorable with Baloff’s voice changing pitch and just feeling what he is singing. Dukes sounds like he is almost reading it off a script, as he doesn’t change tone once and continues with those teen-angst shouts.

This was meant to be a tribute to Paul Baloff but is really no more than a shameless cash grab and should never have been recorded. Forget this and listen to the original. Exodus should be embarrassed and ashamed for shitting on what is one of the greatest albums ever recorded.

Abomination - 25%

avidmetal, October 23rd, 2009

When a band starts re-recording their old stuff, it is a good indication of where the band is heading to, I have to admit, The last time i heard anything great from this band was Impact is Imminent and Exodus is one of my favorite bands, They like Testament have been a disappointment for 20 years now. After the departure of Baloff/souza, Rob dukes filled in and the band was never the same again, I never wanted Exodus to sound like this, They were once one of the most original bands in their class but now they're nothing more than a mediocre sounding band with a half decent vocalist.

What is this?. Bullet for My Valentine's Tribute to Bonded by blood? or is it Avenged sevenfold?. It certainly sounds nothing like the Exodus i respected. Was there ever a reason to do a re-recording of a trend setting album like Bonded By Blood?. Maybe a band out of ideas trying to sound something like their former selves. The guitar work is clean, The vocals sound good and that's just how most alternative metal albums are these days, The album lacks any kind of intensity which made the original recording good.

Firstly, The tracks are much slower and lack any kind of intensity, Rob Duke's vocals try too hard, The guitar work is pretty decent, The production values are good. Rob sounded best in the Angry Retarded Killing Machine album and that wasn't all that good at all. Rob duke sounds nothing like Baloff, And it made me want to return the album when i heard the slow, metalcore version of the original "Piranha". This is nothing more than a band trying to cash in on nostalgic fans and failing BADLY. This might however appeal to angsty little fans who never heard the original bonded by blood by Exodus Or maybe it is for Old Aging metal fans who can't keep up with the pace of Bonded by blood, so the album was recorded at half the speed of the original. Way too Brootal for old people.

The album is completely devoid of anything that made the original so good, Ignore it and hope Exodus can somehow be reborn again. If you haven't heard bonded by blood yet go buy it and ignore this abomination of a great album.

Sub-par and unnecessary - 30%

autothrall, May 9th, 2009

This is the ninth full-length studio album from the Bay Area thrash legends, and the third with latest vocalist Rob Dukes. However, this is NOT a 'new' album of material. It's just a re-recording of 'Bonded by Blood'.

I'm going to be frank. I haven't enjoyed the new vocalist on either of the past two albums. And I don't enjoy him here. I don't really want to hear an Exodus record without Zetro or Baloff. In fact, I found the past two albums were lackluster in general. Even further, I haven't really enjoyed this band since 'Impact is Imminent', a long time ago.

So why would anyone want a remake of a classic like 'Bonded by Blood'? It certainly doesn't need one, so I'm assuming this is just a celebration of sorts of the band's history, yet an attempt to integrate the 'new' in with the old. Unfortunately, this is sub-par in every way to that classic album which tore us a new asshole in 1985, with one possible exception. Dukes isn't particularly to blame here, he still sounds like a metalcore/melodeath singer covering Baloff, but gone are those classic snarls the first two singers were so good at. The main fault is the production, it's just too clean and lacks the raw venom of the original. I mean "A Lesson in Violence" is one of my favorite thrash songs ever...yet if I had heard it hear first, I'm not so sure I'd have ever liked it. The musicianship is still tight, the guitar playing in particular is quite good on the solos, the exception I mentioned earlier.

But enough with the remakes, already. This is a perfect example of why it's not necessary.

Makes for a good drink coaster - 10%

BlackSeal, December 19th, 2008

Exodus has always been a somewhat consistent band in the quality of their releases. For each release, I've found the vocals to be fantastic, and the song writing to be great... And then 2005 rolled around. Souza was gone, and Dukes was in. "Shovel Headed Kill Machine" came and went without much notice. Then came "The Atrocity Exhibition... Exhibit A" in all its crap covered glory, and now it has come to this...

"Let There Be Blood" was recorded as a tribute to Paul Baloff (RIP), although it has done more harm than good. It seems as if a fair number of well known bands have developed a bad habit of re-recording their old songs and Exodus is now one of those bands. "Bonded By Blood" is quite possibly the finest album that this group has done, so coming into "Let There Be Blood", I knew not to have very high expectations (especially after hearing "The Atrocity Exhibition... Exhibit A"). Any bad thoughts I had about this band and album were shattered in the very moment that Dukes' vocals came over the stereo. This wasn't bad. This wasn't terrible.

This was complete and utter shit.

Everything that "Bonded By Blood" had was definitely not carried over into this record. Why Exodus believed they could pull this off with the way they've been "progressing" in recent years, shall forever remain a mystery. The entire band sounds sloppy, which gives the feeling that this was thrown together by a band of autistic kids. The drums should have been left out completely. They're sloppy, poorly done, and there are no flashes of brilliance, or amazing fills. The bass is its usual lumbering, repetitive, single-note self. The guitars are so forgettable, I can't even remember how crappy they were, and then there were the vocals, courtesy of Rob Dukes. The screaming, mallcore, "I'm having a tantrum because I didn't get my favorite choo-choo train" vocals. Please finger, click the off button and make the headache stop.

"Shovel Headed Kill Machine", displayed a sick, but still alive Exodus. "The Atrocity Exhibition... Exhibit A" was the moment that Exodus' heart stopped beating. Now, with "Let There Be Blood", we're just coming home for the funeral.