Album Review: Exodus - Goliath

Exodus - Goliath

Napalm Records - 2026

6.5/10

Right from the gate, I need to make it clear that I've had little time for or interest in anything Exodus has put out since Shovel Headed Kill Machine. Perhaps a controversial statement to call that one the end of a transitional era that started with Force Of Habit, everything following it has ranged from competent but uninspiring to outright bad, regardless of the frontman. So hearing that the Bay Area giants have re-recruited Rob Dukes for another record really didn't curate much excitement on my part. In fact, I went into Goliath with a pretty negative mindset alone.

And while I still don't particularly care for this record as a whole, I'm amazed to say that it actually did strike a few chords and wound up being something I consider at least worth acknowledging. After the long break, Dukes' vocals somehow sound more refined in his older age, feeling like a middle-ground between his former overdone shrieks and Zetro's signature snarl. Along with this, we find a little bit more focus that may just allow for a catchy number here or there, or at least one that feels somewhat engaging. For the most part, that lies with the ones that dial back the over-the-top aggression, likely just feeling more original, rather than the continuous rehashing of overproduced thrash by-the-numbers.

Unfortunately, that latter point is still all over the place. What really doesn't help is that buzzing tone that has plagued Exodus's riffs for the better part of two decades now. Similarly, they're still unable to escape overly try-hard, almost goofy lyrics that I can't believe came from people pushing sixty. "Hostis Humani Generis" definitely comes to mind first, and even as much as opener "3111" is an earworm, I really struggle to take its general plastic feel seriously (did anybody else hear the "111" as "world war one" on first listen?). I can appreciate the title track for taking a doom-laced approach in such a slow tempo to match the titan-like vibes, but it ultimately trudges on and leads nowhere. I could say the same about "Summon Of The God Unknown" as well, being far too long for its own good despite its obvious attempt at an (imminent) impact, and the delivery almost feels robotic.

On a more positive front, a couple songs help Goliath stand apart from other modern era records. "The Changing Me" feels like a true mosh anthem without it being obvious, and the thunderous bass and higher licks definitely help it. I'll throw it props for breaking precedence in the melodic chorus without being awkward. Speaking of melody, "Promise You This" is a nicer tune that cakes in plenty of that, allowing some older attitude to sneak in beside one of Gary Holt's best solos on the album. "2 Minutes Hate" has a groovy stomp to it that matches the refined vocal style quite well despite, you guessed it, my inability to take it very seriously. Beyond this, despite some decent licks near the end, I find myself tired of the album and its generic overcast by the time I reach the last few songs.

In the way I feel about the final Megadeth album, this isn't anything overly bad or worth scoffing at, but I have long reached the point of not wanting more from Exodus (even though I ever-so-slightly prefer this record to Megadeth). It certainly didn't need to exceed the fifty minute mark, but if this were the album the band went out on, I would say it could certainly be worse. Better than either Exhibition album, but that's a low bar. My biases are clear, and regardless of yours, I say tread lightly.