après un tempo of the damned qui a replacé exodus dans le peloton de tête des groupes de thrash en ce milieu des années 2000, le groupe confirme sa place avec ce shovel headed kill machine à décorner les boeufs. exodus est en grande forme, très grande forme,et nous le fait savoir par le biais de ce disque imparable, avec dix titres d'anthologie. cet album est tout simplement une tuerie qui remet les pendules à l'heure: si le club des quatre grands groupes de thrash devait être remis à jour, nul doute qu'exodus en ferait partie aux côtés de slayer et megadeth, par contre, pour ce qui en est de metallica ou d'anthrax... les dernières productions d'exodus sont parmi ce que le groupe a fait de mieux, celui-ci se bonifiant avec l'âge, tandis que d'autres ont semble-t-il perdu de leur superbe, pour ne pas dire tout perdu, surtout l'envie et l'inspiration! shovel headed kill machine est donc un album de thrash moderne et virulent, solide et très bien foutu, aucun titre ne faisant office de remplissage. pas mal pour des papys!
Commentaires client les plus utiles sur Amazon.com (beta)
27 internautes sur 29 ont trouvé ce commentaire utile
"The heaviest & meanest album of their career"14 octobre 2005
- Publié sur Amazon.com
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.
7 internautes sur 7 ont trouvé ce commentaire utile
Thrash Masterpiece9 avril 2006
- Publié sur Amazon.com
Some say that thrash and speed metal died in 1989 following Testament's "Practice what you Preach". Wrong. Over the course of the last 5 years thrash metal has reared its head once again and is blowing up the metal scene. The new Exodus album is straight brutal thrash. New singer sounds great, guitars are shredding 100 MPH, old school metal with a brutal fresh take. Even as a hardcore 80's thrash fan, I absolutely reccomend this CD to anyone who loves fast, driving rhythm guitar, pounding drums and screaming solos. Great pick. Grab this CD with the new Overkill and Testament's "The Gathering" and help put thrash/speed metal back on the thrown where It should be.
27 internautes sur 34 ont trouvé ce commentaire utile
'Tempo of the Damned' if it sounded like what everyone said it did.8 octobre 2005
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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.
9 internautes sur 10 ont trouvé ce commentaire utile
Kirk Hammett doesn't know what he left behind!17 juillet 2006
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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!
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To Quote Ron Burgundy: "It Will Literally Rip Your Face Off."10 juin 2006
- Publié sur Amazon.com
Yep, that quote sums it up. Old-school thrashers Exodus are back with a biteback vengeance, and they will kick you senseless if you stand in their way. This is by far one of the most visceral, unadalterated, and violent thrash albums to come out in the past few years. Gary Holt definitely had the fire in his belly when writing this album, and he brought in the perfect line-up to round out the band.
I'll start with the songwriting. It's solid, aggressive, and to-the-point. No flashy technical bullcrap, no sissy acoustic breaks or pseudo-epic solos. It's straight-ahead, poser-plowing thrash meant for the real metalheads. Most of the songs are following a streamline structure of: intro,verse,chorus, repeat, solo, verse, chorus, etc... But every song has enough variety in riffs and approach to keep battering you over the head. "Deathamphetamine" and "44 Magnum Opus" break the mold, both of them being over 6 minutes long. (In fact, the former is almost 9 minutes long, but it's a constant barrage of true metal and never gets boring!) The rhythm guitars are chunky and hold a nice tone, while the solos cut through like a fine-honed sword. Paul Bostaph sits behind the kit on this album, and dominate he does. His unreal endurance is on full display, such as the ripping title track or the catchy opener "Raze." The drum sound on this album is amazing as well; gut-punching bass drums, metallic sounding snare, and a fat tom sound give the album's top-notch production an even better sound.
Of course, I'll also mention the addition of new vocalist Rob Dukes. Imagine a mix between all of the old Exodus vocalists, Phil Anselmo, and Overkill's vocalist... Ok, now add in classic Exodus lyrics (much improved from the last album, by the way) and a pissed-off attitude, and that's about it. A friend of mine once said that, "The sound of that guy's voice is the sound of men who beat their wives." lol, and it's not too far from the truth. He's definitely pissed, and spews out the lyrics with the snide, ironic attitude needed, as well as conviction.
My favorite tracks are definitely the satirical "Altered Boy", as well as the title track and "Now Thy Death Day Come." Recommended to all fans of metal. Expect a furious onslaught.