Persona Non Grata

Considering the long wait that these thrash metal legends have bestowed upon their fans after the energetic, somewhat melodic return-to-the-roots predecessor "Blood in blood out", it would be hard to expect that the cult-of-a-personality that is Gary Holt could deliver something mediocre like the atrocity albums again. Despite the overall quality of the material (riffs, lyrics) on the latter, they've been arguably dimmed by the raspy vocal approach of Dukes, which has seemingly stained those records so much, that they had been received sub-lukewarm by most Exodus fans to say the least. The return of the anticipated by many (including the author of this review) Steve "Zetro" to the band in 2014 has ignited the hope in the followers of this riot act all around the world, and has arguably added a legion of its new adepts due to Steve's more sound vocal manner.

A false statement would be to say that the review's author does not enjoy the outputs of this band during Dukes's era. However, I have been more than pleased to hear Zetro's return on the band's 2014 record. His approach to barking out the lyrics is much more fitting, and perhaps it even describes the band's unrelenting onslaught that is poured onto the unexpecting listener from album to album due to the mere fact that it (Zetro's voice) has become iconic. The subliminal notion that Steve had found his vocal nieche way back when and has pretty much stayed true to it and hasn't strayed away comforts fans. It is even more surprising to hear his vocal experiments on this record, because right from the first track Steve goes into this almost growl-like manner of shouting the chorus of the song, which I can't call unfitting, rather unexpected. The sporadic experiments continue on throught the record, as Zetro goes from high pitches to almost extremely low, which adds to the diversity of the songs, making their choruses and bridges indeed various and catchy. A feature worthy of noting are the doubled vocal lines on some songs' choruses, like "The Years of Death and Dying", where high and low pitches blend together creating the ambiance for the underlying guitar melody - a solution not typically used by Exodus.

It's now the time for the traditional guitar sound opinions, and my opinion is that the sound on this album hits one in the face hard. Period. It would be unwise to expect something else from Gary, a person obsessed by in his words: "...crunchy-ass guitars and fast double bass.". The delivery of the guitar riffs is great, starting with the intro riff of the main theme song and ending with the last banger, "Antiseed" - the technicity of the performance is excellent. Something, in my opinion, sounding less convincing are the solos. During almost all of the songs Gary continues to spin the idea of his "5 licks" that have made his career (lol). In no way do I criticize Gary for that, considering that this is one of the merits that I personally admire Holt for - honesty,- but I still think he could've tried to leave his comfy box and explore something beyond the quick, 3-note minor pentatonic and harmonic minor licks. Where his harmonic minor skills do shine, though, are during the solo of the song "Fires of division". The rest of the lead material is pretty Exodus-generic, if you know what I mean.

The drums on the other hand are something to behold, considering Tom's age and the torment that he's been going through lately (at the time of the review's writing). This is indeed one of his most technical and probably fastest records that he's ever played on. I can recall Tom saying in one of Dukes's videos, during the recording sessions of the second atrocity exhibition that that (atrocity b) was the fastest record they'd ever done, and that "... we can't go any faster, unless we start doing blastbeats and shit.". Well, the closest that their latest opus comes to blastbeats is during the title song's chorus, and at the start of "Clickbait", and the album still manages to outrun the atrocity b speed-wise.

The sole conclusion that can be made by the review's author after listening to the record is that it is subjectively outrageous to realize that the band did not gain its place among the "great" 4, expanding the latter to 5 or replacing one of its contestants, personally, with both cases equally acceptable. There's really not much else to say about the one-hour long masterpiece that this by all means legendary band has managed to spawn forth. Being a long record that most other Exodus's outputs are, it does not feel like that, with all 12 songs playing their lenghts on the listener's single breath, partly due to their variety and melodicism. A must-hear, in my opinion.

Vintage band Exodus with fresh vocals via Steve "Zetro" Souza and guitar by Gary Holt takes me back to the 'Impact Is Imminent' days. Though it's 21st Century work from the band there's still somewhat of an old school vibe. It must be Gary and Steve, that's who stands out the most for me on this killer release. Overall though, it was decidedly so that this is an excellent effort! Interesting sounding riffs taken back to the old days when years seemed to stand still. A little off-shoot from Death lyrics there but that's how I feel with this album. Like they're back and packing a punch still kicking ass like they haven't aged.

"Slipping Into Madness" is a good track I can relate to but most of the songs are solid riff writing here is top notch! The aura of the album has a tinge of the old school vibe but definitely 21st century Exodus. Zetro has put forth invigorating vocals that suits the music perfectly. The leads are top notch too, some a little sloppy but not much. Mostly the rhythms kick ass.. That's what resonates with me. The overall sound is in your face Exodus with not much a bit of anything else. I like the sound quality a lot. And some of the acoustic guitar melodies. Mostly this album is pretty heavy from a thrash metal stand point.

They did a good job with the mixing and getting the guitars up there in priceless justice. So, in effect the production was superb. The instruments were all in astoundingly great submission. These guys have been around for over 30 years and they did great in these turbulent times (Covid-19) maybe touring in 2022 as a part of the Big 4. The Bay Area thrashers need to unite with others featuring Metallica, Death Angel and Megadeth (and other bands such as Anthrax & Testament). So many great bands like Exodus are still around, Slayer cashed in after about 35 years but it was just their time.

I downloaded this one first and liked it so much that I bought the CD. Doesn't mean that you have to do the same, but I collect CD's still. So yeah, it was worth paying money out of my pocket to support the band. There are so many highlights on this album a small review isn't enough to appreciate what they've done with this release. They have shown that they're not going to leave the scene especially during hard times not being able to tour. That hasn't stopped them from making great music hitting those creative juices and putting forth one helluv a good album here. Check it out thrashers, it won't disappoint!

Thrash metal bands should never get too comfortable with their own style. Once they do, the urgency that makes most of the best albums in the style as good as they are goes away and there is a serious risk of churning out riffs on auto-pilot. Ever since their reunion around the turn of the century, Exodus has been walking the tightrope between stylistic expertise and formulaic predictability, occasionally leaning too far the latter way. ‘Persona Non Grata’ is by no means flawless, but certainly sounds more inspired than a majority of their post-reunion releases, including its predecessor ‘Blood In, Blood Out’.

‘Persona Non Grata’ sounds more or less exactly like one would expect Exodus to sound in the twenty-first century, for better or worse. Nobody has to teach Gary Holt how to write a sharp, vicious modern thrash riff anymore and those are here in spades, some of them even having an eerie, twisted feel I have not heard often since Dark Angel’s heyday. But there are also a couple of more contemporary-sounding mid-tempo tracks that plod along for one or two minutes longer than they should. As a whole, ‘Persona Non Grata’ has quite a pleasant flow, however, so these are not too overbearing.

What the album does better than most Exodus releases is throw some surprising twists at the listener. The opening title track has a mid-tempo middle section with a couple of surprisingly melodic guitar solos that was structured differently than I was expecting and just when the following ‘R.E.M.F.’ appears to settle for the same groove for too long, a really cool pulsating post-solo section breaks up the song. ‘The Fires Of Division’ toys with time feels and an awesome guitar harmony near the end of the song, while the dark, epic ‘Lunatic-Liar-Lord’ is one of the most dynamic Exodus tracks since ‘Pleasures Of The Flesh’.

Despite bitching about modern Exodus’ slower moments reasonably often, it’s really the mid-tempo stuff that meanders a bit. By contrast, when Exodus goes for the truly slow stuff, the results can be excellent. ‘Prescribing Horror’ in particular is a monstrously heavy doom track with a genuinely scary vibe in the guitar work. It is somewhat reminiscent of ‘Forward March’ from the ‘Tempo Of The Damned’ album, though it’s slower and more atmospheric. ‘The Years Of Death And Dying’ also works surprisingly well. In the hands of a lesser band, it would be another dull mid-tempo plodder, but the interesting guitar arrangement and Steve ‘Zetro’ Souza’s surprisingly multi-faceted vocal performance up the ante.

Ultimately, the only major flaw of ‘Persona Non Grata’ is that it really did not need to be an hour long. Personally, I could have done without the anticlimactic closer ‘Antiseed’ and the in one ear, out the other ‘Elitist’. I don’t find ‘The Beatings Will Continue (Until Morale Improves)’ all that interesting either, but it does its duty as a short banger in the middle of the album. All in all, the album has a surprisingly large number of inspired moments and it is sonically much better than ‘Blood In, Blood Out’ as well. Those expecting another masterpiece after not having had any Exodus releases for seven years will be disappointed, but some tracks are real growers.

Recommended tracks: ‘Lunatic-Liar-Lord’, ‘Prescribing Horror’, ‘The Fires Of Division’

Originally written for my Kevy Metal weblog

Long breaks in output can often signal a career that is winding down, but nothing could be further from the truth in the case of Bay Area thrash metal pioneers Exodus if the latest studio installment of their 40 years plus career is any indication. With a little over 7 years having passed since the triumphant return of iconic front man Steve “Zetro” Souza and the pummeling return to thrashing form that was 2014’s Blood In, Blood Out it would be rightly assumed that the urge to render the collective spine of the masses into confetti via a pummeling auditory assault would be reaching a fever pitch in the minds of this mad quintet. True to form, the hour long foray of unfettered aggression that is 2021’s Persona Non Grata, this outfit’s eleventh studio LP, is a beast to be reckoned with, though also one that balances out frenzied fits of sonic violence at ramming speed with a methodical sense of structure and needed respites into more measured territory that goes with crafting a masterwork.

Keeping to the frenetic spirit that typified the sub-genre at its early 80s inception, this fold goes about their business with the level of speed and fury normally exhibited by bands half their age, showcasing from where the likes of Warbringer and Havok take their cues. The thunderous battery of kit maestro and co-founder Tom Hunting lays the foundation with the precision of a master architect and the explosive energy of a fusion reactor, while the raunchy and glassy bass work of Jack Gibson augments the highly percussive character of the arrangement and sits high in the mix. Likewise, the twin guitar assault of veteran riff machine Gary Holt and Heathen’s six-string solider Lee Altus amounts to a relentless cacophony of punchy hooks and flashy virtuoso solos that can rival any of the shred fests that adorned the classics of the 80s. And at the center of it all stands Zetro in all of his maddened, snarling glory, delivering the lyrical refrains of malcontent in a timbre resting somewhere between the raving heights of Bobby Ellsworth and the deeper growls of Chuck Billy.

From the very onset of this extended kill session, this Bay Area mainstay doesn’t pull any punches, and often throws caution to the wind with maximum payoff. The opener and title song “Persona Non Grata” takes the concept of concise speeder meant to warm up the listener and stretches it into a massive, 7 minute long epic colossus of busy riffing, barely human vocalizations and a chaotic foundation provided by the rhythm section that is comparable to the more intense moments on 2004’s Tempo Of The Damned. This highly ambitious blend of early thrash energy with latter day elaboration is not an anomalous occurrence either, as near equally swift and complex excursions into longer territory such as the closing crusher “Antiseed” and the vertebrae-destroying 8 minute monster “Lunatic-Liar-Lord” round out the high points of this album’s latter half. In a sense, one could argue that these more developed and multifaceted offerings represent the same ideal that the style sought after in the early 90s via albums like Rust In Peace and Victims Of Deception, namely a balance of high-impact thrash fodder and a more nuanced and progressive sense of structure.

All the same, the lion’s share of this album consists of Exodus’ forte going back to the days of Pleasures Of The Flesh, namely shorter bangers offered up at ludicrous tempos. The ultra-chaotic ode to media manipulation of the public “Clickbait” stands as one of the more ferocious offerings; showcasing a particularly riveting performance out of Tom Hunting that almost completely upstages the rest of the band. The punk-infused 3-minute ditty with a mouthful of a title “The Beatings Will Continue (Until Morale Improves)” takes a somewhat tongue-in-cheek yet socially conscious stand on how the riots of 2020 played out, yet manages to throw in plenty of tasty guitar treats despite its more streamlined format. Other standout moments in what is basically a near flawless assembly line of top notch thrash fodder include the more blues-rocking yet still amped up thrill ride “R.E.M.F.” and the almost mid-paced and punchy protest banger “Elitist”, both of which carries some echoes of the groovier material of modern Overkill but seasoned with an even sweeter savor of guitar solo goodness.

In essence, this album amounts to a triumphant return to form wrapped in a gargantuan, ground-shaking production as only Andy Sneap can deliver. Though it initially comes off as a modern thrasher after the mold of Tempo Of The Damned and Blood In, Blood Out, the level of musical ambition here is a cut above everything that has come out bearing the Exodus label since the 1980s. It might be a little bit of a stretch to put this in the exact same league as the seminal debut and game-changer that was Bonded By Blood, but this fits in perfectly with what came into the equation when Zetro initially came in to fill Paul Baloff’s shoes. Though some nostalgia hounds may continue to balk at the slicker and more compressed mixing practices that most of the older guard have adopted, the 2020s are proving to be a renaissance-like period for the greats of the 80s, and alongside the recent output of Testament and Heathen, Exodus have knocked it out of the park here.

Originally written for Sonic Perspectives (www.sonicperspectives.com)

7 years of anticipation for new album by the first thrash metal band ever. Since 2014 many of fellow bands have released at least 2 albums, so one could think Exodus is far behind the competition. Finally, the silence at Exodus camp has been broken in August, with release of 'The Beatings Will Continue (Until Morale Improves)' promoting 'Persona Non Grata'. The title of the album comes from latin "personae non gratae", which means "person not welcome", usually used in diplomacy. Even if we would extent the usage of that phrase onto music, this album is by no means "unwelcome".

In behind-the-scenes videos, the band would talk about how for this album they'd sit together in the studio and give each other feedback (we see it happening to both Altus and Souza, parts 4 and 5 respectively), instead of recording the parts on their own. I think that kind of helped to make the songs more focused and vicious. Long gone are the days of 6 and more minute tracks dominating the album, full sections of songs repeated to death without any rhyme or reason. Today is the day Exodus can finally understand 3-5 minutes is mostly what they need to kick ass and not overstay their welcome. Stuff like 'R.E.M.F.', 'Slipping Into Madness', promotional 'The Beatings (...)', 'Clickbait' and 'The Fires of Division' are things that Exodus could literally write for their 'Fabulous Disaster' or 'Tempo of the Damned' albums. Those tracks are vicious, deadly and hungry for blood. Just as every speedy-thrash should be.

But there's always room for slowing things down, which is why we get stuff like 'Elitist', being kind of reminiscent of 'Metal Command', or 'Prescribing Horror' which might be their darkest and most doom metal song yet, complete with lyrical theme of Thalidomide, a drug prescribed to pregnant women in 50s and 60s that's supposed sedate and relief nausea during the first three months of pregnancy, which ended up in lot of miscarriages, and the babies that survive the birth ended up with terrible deformations and health problems. There's also 'The Years of Death and Dying', where Zetro plays the Grim Reaper coming after big legendary musicians, like Prince, David Bowie, Bon Scott and Freddie Mercury. Too bad he's doing that to the rhymth of fucking Arch Enemy rejected track. Seriously, get Angela Gossow or Alyssa White-Gluz to do singing part and you couldn't tell this is not something off 'Will to Power' or 'Doomsday Machine'.

'Persona Non Grata' also offers 3 longer tracks, 6 minute long 'Antiseed', and two songs trimming over 7 minutes - title track and 'Lunatic-Liar-Lord' following short intro 'Cosa Del Pantano'. 'Antiseed' kinda drags a bit in the intro, but the payoff is more than enough to forgive this slip-up. Which I can't say the same for other two. Seriously, you can easily cut of at least a minute of filler, pointless riffing in those songs and it makes them better! Why pick up speed in the title track at 4:55, if you're going back to slow tempo after 20 second? Come on!

And you know what all that means... Yes, tracklist is kinda trash, to be honest. 'Cosa Del Pantano' is better off as an intro to the record, followed up by 'Lunatic-Liar-Lord', of course after you get rid of some filler in it (Hunolt's guest solos not withstanding, on this one song he has a lot more chemistry with Holt than Altus ever had! How is that even possible?). Title track can go to the end, serving as a nice closing to the record. How will you set the rest of tracklist doesn't matter as much, but there's still stuff that would work better with different placement, like 'Prescribing Horror', 'Antiseed' or especially 'Clickbait'. If I were to set the tracklist, I'd probably go with this:
1. Cosa Del Pantano
2. Lunatic-Liar-Lord
3. The Fires of Division
4. Clickbait
5. Elitist
6. Antiseed
7. The Beatings Will Continue (Until Morale Improves)
8. R.E.M.F.
9. Prescribing Horror
10. Slipping Into Madness
11. Persona Non Grata

However, none of the faults are undermining the fact that this album stands head and shoulders above anything Exodus released in over 17 years. Steve Souza sounds as evil as he had even been, Tom Hunting despite his health problems plays like a goddamn beast (and could give some lessons to CERTAIN SOMEONE from a CERTAIN band - while battling cancer, for God's sake!), and Gary Holt cooks those riffs like Gordon Ramsay. It's far from perfect, but it's enough to satisfy my 7 years of anticipation. Get up off your ass and do the TOXIC WALTZ! Exodus is truly fuckin' back!

I would say that Persona Non Grata is one of the highly anticipated albums in 2021. I would also assume that this album will lead to a lot of controversies because of its sound, songwriting, running-time, cover and God knows for what other reasons. So, what is coming upon the listener? Is it more mediocre stuff like some people said about the pre-listening songs or is it going to be a killer? Well, I will try to answer these questions now.

The album consists of 12 songs with a total running time of 1:00:18 which is much shorter than the previous Exhibit… albums (okay they both had their lengths; I have to say). The production sounds like on the last albums: flawless, powerful and full. The cover… (just write down your thoughts here).

Persona Non Grata starts with the title track which was already released as video a few weeks ago and that song hits you in the face from the first second. Aggressive riffs in the typical style of Exodus with blasting drums together with Steve Souza striking voice makes you feel that you are the person he is singing about. His vocals are quite varied and sometimes even go a little bit into death metal range (not only on this track). Though I have the impression that the vocals sometimes sound a little bit chopped, it is a very good and brutal track. What is the red line on this album are the groovy, melodic parts and the great guitar solos performed by Gary Holt and Lee Altus (I wished that the latest Heathen would kick ass so much!!!) combined with a lot of anger and hate (I love it when Steve screams “motherfuuuuuuucker” in 'R.E.M.F.'). But I won't talk about every song in epic length but will go more into the album as a whole now.

Well, not everything on this album is good old Exodus stuff, no; they put additional elements into their tracks they didn't do before. It is not really modern stuff but for example in 'Slipping Into Madness' some slight country melodies snuck into the opening riff and the bridge (and a fully country vibe in the instrumental 'Cosa Del Pantano' which is a cool intro for 'Lunatic Liar Lord'). It takes a little to get used to but it fits quite well into the track. Another element is spreading a gloomy and tensioning atmosphere through creeping, sinister melodies that let you expect that something exciting will happen in the next seconds (just listen to 'Prescribing Horror' or the mid part of the aforementioned 'Lunatic Liar Lord'). What was my thought on some tracks is that they put some Iron Maiden reminiscences into them, at least the lead guitar in 'The Years Of Death And Dying' in the chorus sounds a little like that. Not too much, just like the parents in Hansel and Gretel threw a few breadcrumbs here and there. You need some time to discover it, but maybe you will agree with me. Besides, the solo and the breaks in that track are really awesome. And finally, Zetro tries (I mean tries) to sing ('Elitist') which sounds very interesting and not really bad – I guess that is one of the biggest surprises on Persona Non Grata.

For me, the most outstanding tracks are the really groovy catchy tracks we all know from Exodus. I don't like it too much when the band applies the parking brake (metaphorical of course) as for example Death Angel on “Relentless Retribution” did but that is my very own opinion. These tracks are in my ears 'Elitist', 'The Beatings Will Continue' and 'The Fires Of Division' which are pretty old school, pure fucking Exodus tracks that leave you beaten down to the ground but very happy in front of your stereo or wherever you listen to the album.

There are some tracks that you've already heard somewhere ('Clickbait') and some tracks have their lengths and should have tightened up a bit ('Lunatic Liar Lord', 'The Years Of Death And Dying') but I think all in all Exodus recorded a very good album that will get into my favorite 10 thrash albums of 2021 (fuck, this year is almost over, isn't it?). However, the cover...

Rating: 8.5 out of 10 broken parking brakes

Originally written for metalbite.com

In Germany we know the nice word “schönhören”. It means to listen to something bad again and again until you think it’s good (although it is, of course, still bad). One can vary this phrase. For example, “schönsaufen” is the word for drinking so much alcohol until you think the lady in your arms is Miss World (but in fact you would not even ignore her if you had any alternative). However, the fanboy in me was in fear when it came to the new Exodus album. Prophylactically, I switched into the “schönhoren” mode. But lo and behold, this would not have been necessary at all. “Persona Non Grata” is anything but a disappointment. Okay, I don’t think that a Latin title is a good idea for a thrash metal record and the cover is as bad as the one of “Blood in, Blood Out” was. Is there anybody willing to steal Pär Olofsson’s brushes? Has ed Repka died? Or why didn’t they take another casual band photo, remember “Pleasures of the Flesh” and “Fabulous Disaster”. But the music, my friends, the music...

The title track starts with “Scar Spangled Banner” riffing and kicks off the album in a furious manner. Don’t get me wrong, the riff does not copy the one of the aforementioned classic. It only spreads the same vibes. Just like brothers, these two tracks show some similarities, but have their own personality. And their father, Gary Holt, did not only give the opener of “Tempo of the Damned” a baby brother. He knows the success formula of thrash in general (because he was one of the inventors) and of Exodus sounds in particular (this needs no justification, I hope). And so we see that inter alia “The Years of Death and Decay” stands in the tradition of groove monsters like “Blacklist” or “Shudder to Think” and “The Beatings Will Continue” is the new “Thrash Under Pressure”, while “Nanking” sits at the cradle of the atmospheric yet mega heavy “Prescribing Horror”. Speaking of some songs of the Rob D. era: this jerk was not involved in the making of “Persona Non Grata” and that’s a good thing, but Rick Hunolt, once part of the H-team and co-author of perfect tracks like “A Lesson in Violence” and “Deliver Us to Evil”, appears with a solo in “Lunatic – Liar – Lord” and background vocals. The same applies for former live guitarist Kragen Lum. Only Paul Baloff (R.I.P.) is unfortunately missing. But Zetro makes up for that with his powerful, sometimes somewhat hysterical, sometimes very ominous shrieking.

Two songs fall by the wayside. “Elitist” is a mixture of a dull, late Venom song (verses) with a Skyclad-like melody afterwards. “Clickbait”… well, even Gods fail sometimes (otherwise Jeff Hanneman would be still alive). It’s clearly an Exodus song, but unfortunately one of the least exciting ever with a chorus going nowhere. It doesn’t matter, because the overall picture shows a strong, robust and honest metal opus. Exodus have made their peace with their existence as a thrash metal band. No “Force of Habit” absurdities shimmer through the songs, commercial success is not an end in itself. Instead, we get typical “good friendly violent fun” from a band that does not run out of ideas during the playtime of 60 minutes and 24 seconds. “Lunatic – Liar – Lord” scores with massive complexity, the casual yet vigorous “The Fires of Divison” holds great double bass sequences and the straight “Antiseed” marks the final riff massacre. These songs form a very cool last quarter of the album. And needless to mention that they all benefit from the precise drumming of Tom Hunting. Thank God that he could defeat f**king cancer! This gives the album an ever better aroma.

The quality of the production always influences the flavour of a release as well, that’s a matter of course. Well, producer: Andy Sneap, company: Nuclear Blast. Do you really need more information? “Persona Non Grata” does definitely suffer from a lack of imperfection, to say it this way. Thus, some people could think the mix borders on sterility, but I like to disagree. There is so much vibrancy in the new material of this still agile quintet that we really cannot speak about a bloodless result.

So let’s come to the conclusion. “Persona Non Grata” consists of two fillers, a short intermezzo (outside the rating) and nine tracks that reflect the thrash metal DNA of each and every band member. These nine songs lie in very close proximity to perfection and it’s a bit sad that the overall result is lowered by the two less strong tracks. 50 minutes plus would have been enough music as well and a 95 + X rating would have been the consequence. However, the vast majority of the songs hits the shit out of my rotting brain. If I would be forced to define my personal highlight today, it would be “R.E.M.F.”, even though I am not totally happy with the lyrics. Already Turbonegro knew “Don’t Say Motherf**ker, Motherf**ker”. Either way, tomorrow maybe I prefer “Slipping intp Madness”? Or “Lunatic – Liar – Lord”? “Prescribing Horror”? Time will tell, but one thing is for sure in my humble opinion: this is the best album from the US of A for years! No need for “schönhören”! Exoduuus attack!