Exodus: Teh Unyielding Titans of Thrash Metal

Emerging as trailblazers in the thrash metal movement during the early 1980s, Exodus stands as one of the last bastions of authenticity in the​ genre ​today.

While bands like​ Megadeth have announced the end of their studio endeavors and Slayer has opted for sporadic⁣ performances, Exodus is on a relentless mission. they are not merely releasing new tracks; they‍ are passionately crafting and touring, driven by an insatiable desire to ⁤create music that defines their very existence.

“I can’t stop doing this,” Holt shares from his serene California home, where wild turkeys roam his ​backyard. “I spend my days in the studio for hours, ‍then return home for dinner, only to pick up​ my guitar and wriet more.This is my passion.”

Unwavering Dedication to Craft

This level of ‍commitment has consistently set Exodus apart,even amidst lineup changes,personal struggles,and evolving musical landscapes. From the raw intensity ⁢of their debut album, 1985’s Bonded by Blood, to the intricate ‍musicianship and diverse sound of their latest release, Goliath, Exodus has ‍never settled for mediocrity.

“We can’t just write to meet a deadline,” asserts Lee Altus,​ the band’s second guitarist since 2005. “everyone gives their all. Sometimes we hit the mark, sometimes we don’t, but ⁣it’s ⁤never ‍due to a lack of effort.”

Creative Retreats and ​collaborative⁤ Spirit

In late 2023, Holt and Altus began composing new material.​ By the summer and fall of 2025, they had rented a vacation‌ home to collaborate with producer mark Lewis, ⁢reminiscent of their recording sessions for 2021’s Personal Non Grata.

“I had several songs⁣ ready before we started, and we completed the rest together,” Holt explains. “It’s akin to how bands like Queen and Deep⁤ Purple would seclude themselves to ⁢create. We enjoy each other’s company, and we call it Camp Crunch.”

While many bands might falter in such​ a relaxed setting,Exodus thrived,producing song after song,fueled by their collective energy and a shared commitment to musical evolution.

Exploring New Horizons

“I​ still love⁢ playing fast, but I ⁤also enjoy experimenting,”⁢ Holt notes. “We aim to create music that excites ⁢us. If every track is at full throttle, it all starts to blend together. You need moments‌ of respite or unexpected twists.”

Goliath is a​ testament to ⁣this philosophy.The album is a sprawling collection that juxtaposes the ferocity of Bay Area thrash with slower, more atmospheric segments,‌ showcasing Exodus at their most⁣ inspired. The new tracks highlight their prowess as songwriters and musicians, revealing a ⁢band that remains hungry and sharp.

Standout Tracks and Future Aspirations

With tracks like Hostis ⁣Humani Generis and 2 Minutes Hate, Exodus proves they can still deliver crushing intensity, while songs like 3111, The ⁤changing Me, and Violence Works demonstrate⁢ their forward-thinking​ approach to music.

As they continue to ⁣forge ahead, Exodus remains⁣ a powerful force in thrash ⁣metal, committed to their​ craft and unyielding in their pursuit‌ of musical excellence.

Exodus:‌ A Thrash Metal⁢ Legacy That Refuses to Fade

With a sound that blends dark⁢ textures,⁣ catchy hooks, and unique riffs, Exodus has crafted‌ a career-defining⁣ album with Goliath.However, this is not the end of their journey. After completing the mixing and​ mastering of Goliath, the band found themselves with eight additional tracks ready⁢ for their ⁣next project.

“We refuse to fade into the background like ​legacy acts that don’t produce‍ meaningful music anymore,” asserts⁤ Gary Holt. “we are an album-oriented band.We won’t⁢ shift to releasing just a couple of⁢ songs at a time and then tour on that. ‌We’re here to stay, and I plan to keep creating until my last breath.”

Choosing the Best for Goliath

Interviewer: You recorded 18 tracks during your sessions with Mark Lewis.Did you select the best‌ for Goliath?

Gary holt: We picked the songs that formed the⁣ strongest album for⁤ now. The other tracks are equally good; ⁢they simply belong⁣ on ⁣the ‌next record.

Lee Altus: The toughest part was deciding which‌ songs to include in this album and which to reserve for later. We didn’t ‌want to overload one album and leave the⁣ next feeling ​like a collection of leftovers.We had some healthy debates ⁤about it, which reinforced our ⁤belief in the strength of our material.

EXODUS – Blood In, Blood Out ⁢(OFFICIAL FULL ALBUM STREAM) – YouTube

Collaborative Songwriting Dynamics

Interviewer: Did you collaborate on the songwriting process?

Holt: Not exactly. lee worked on his parts ‍at home and didn’t stay at the rental. I didn’t even hear his songs until they were finished. At‍ one point, he asked, “You haven’t​ listened yet?” and I replied, “No, I’m‍ focused on my own work. I trust you completely. Go for it!”

Altus: That trust is crucial. When I send something to Gary, I’m ⁤confident he won’t ask me to redo it or question its fit. Once it’s complete, it sounds like exodus. I was a fan of ‍the band ⁢long⁤ before I joined, and we share many‌ of the same influences.

Contrasting Approaches to Songwriting

Interviewer: ​ Do you have different songwriting styles?

Altus: I often say Gary writes like he’s brewing moonshine, while I approach it like making fine wine. Gary churns out riffs at an unbelievable pace,which amazes me. I tend to reject many riffs before I find one that resonates with me. Sometimes I can be overly critical. Gary frequently enough asks, “When will you finish this song?”⁤ and I respond, “It’s not ready yet.” I always‌ feel anxious, but eventually,⁢ I settle down and start writing again.

Holt: I believe Lee’s​ ideas take⁢ longer to mature, but he brings ‍a fantastic melodic⁤ sense that adds depth to our music. For this album, The Changing Me was entirely his‍ creation, and⁤ it’s outstanding. The ⁢same⁣ goes for 3111.

EXODUS​ – Tempo Of the‍ Damned (OFFICIAL‍ FULL⁤ ALBUM STREAM) – YouTube

Crafting Unique Sounds

Interviewer: 3111 begins with a haunting intro ⁣before launching into full-throttle thrash. How did that ‍come about?

Altus: I was jamming and created a slow, ​eerie section ⁣that reminded me of black Sabbath. I wasn’t sure where it would lead; it could have been its own song. As I continued‌ to work on it, it evolved into something unique, ​almost guiding me in its direction.

Holt: I composed the opening riff, the verse riff, and Jack’s ⁤bassline back in 1999. At that ⁤time, we were in a chaotic state. I ⁤would crank ⁣up⁢ the volume ⁢in⁢ the rehearsal space and just jam. ‍It was originally⁣ in drop A tuning, and we referred to ‍it as the Creepy Song. I attempted to finish it for every album since [2004’s] tempo of​ the Damned, but ‌I couldn’t detach it from that turbulent mindset, which left me stuck.

Breaking through Creative Blocks

Interviewer: what ‍finally allowed you to complete it?

Holt: Perhaps ⁣I had distanced myself enough from my past.⁢ Maybe I stopped overanalyzing‌ it. I ⁣set up my laptop in my ⁤trailer and found the right beat using [Toontrack] ⁣EZdrummer.​ After all those years, it just flowed – the chorus, harmonies, everything. I wrapped it up in one afternoon.

I sent the demo to Tom, and his immediate response was, “you did it!” that was an incredibly triumphant moment for me. It’s my favourite track on the album. It’s dark, haunting, and ⁢melancholic – both beautiful and sorrowful.

Exodus: Pioneers of ⁤Thrash Metal Embrace Innovation

Innovative Collaborations

The ​album‌ features poignant string arrangements‌ layered over fast, intricate guitar riffs. “While we ‌were recording, I envisioned violins in the middle section,” Holt explains. “We initially‍ brought in a local violinist to experiment, but ⁢it didn’t quite fit. So, we reached ⁣out ⁤to Katie jacoby, who has toured with The Who.I asked her for maximum⁢ sadness, and she delivered ‍18 tracks of⁢ strings that were perfect.​ It felt reminiscent of something composer Michael Kamen would have created, ⁢elevating the⁤ song​ beyond my expectations.”

Reflecting on Musical Growth

interviewer: ​When you released⁤ Bonded by Blood in 1985,could ⁣you ‌have ‍imagined hiring ​a violinist ⁢for The Who to play on your record?

Holt: ⁣I’m not sure. We did incorporate horns in our cover of⁣ the Rolling Stones’ Bitch for Force of Habit in 1992. Anything is ‍possible.

Exploring Unique Sounds

Interviewer: Lee, ⁣you⁤ utilized an EBow on that track.

Altus: I’m a huge fan of ‌the EBow. Many people mistake⁤ it for keyboards, but it’s purely guitar. I kept it​ clean with no overdrive, aiming for pure sustain. You can distort it, but ⁤I wanted a sweet, melodic sound that subtly⁣ creeps in the background.

EXODUS – 3111 (CENSORED VERSION) – YouTube

Melodic Depth Amidst Aggression

Throughout the album, a strong melodic foundation persists, even during⁣ the most intense moments. “Molotov cocktail⁣ riffs are​ easy to​ create;‌ anyone can do that,” Holt states. “What truly matters is the ‍music that lingers with‌ you.”

“Molotov cocktail ‍riffs are easy. ⁣Anybody can do that. The ⁢stuff that stays with you is what matters.”

Altus: I’ve always⁢ been drawn to melody,​ regardless of how heavy the music is.that’s ‌what captivates me. ​If it lacks melody,it simply doesn’t resonate.

musical ​Influences Beyond Metal

Interviewer: As pioneers of thrash, do you spend time listening to metal or keeping up with the scene?

Holt: Surprisingly, I mostly listen​ to Adele. If you ask me about my‌ top five favorite musicians ⁣right ⁤now, they’re all Adele. She possesses‌ one of the greatest voices ever, and her albums feature world-class piano performances. Much of it is just her and the piano, which I​ find incredibly appealing.

Altus: ⁣ Good music transcends genres.I don’t constantly listen to⁤ metal either. One of my all-time favorite bands is ABBA. I ⁤grew up with Deep Purple, Black Sabbath, Thin Lizzy, Judas Priest, ⁢Scorpions, and Iron Maiden. Those influences still resonate with me, but I enjoy a wide variety ‍of music.

Embracing ‍Experimentation

Interviewer: Do you think your‌ willingness to experiment with sound ‍stems from ​your thankfulness for genres outside of metal?

Holt: Perhaps. I don’t ⁣consciously listen to ⁣Adele and ⁢think about‌ incorporating pop into thrash. ‌However, I’ve‍ always enjoyed pop music. During the Exodus tour in the Eighties with Venom, I was listening to ⁢Madonna. Prince is‌ my idol, ​and there’s likely more influence from him in Exodus than anyone realizes.

Take a listen to Violence Works. Before ​the riff kicks in, it might sound like⁤ we’ve gone ‌off the deep end and created a ‌disco track. To me, Promise‌ You feels like a blend of ⁢Blackfoot and Discharge. There’s no specific formula; we simply follow the riff.

Driven ⁢by Passion and Reality

Interviewer: Goliath showcases a band that is hungry for success while striving for⁤ innovation. Was there a particular motivation behind this drive?

Holt: ​ Our goal was to create music we genuinely ‍enjoyed. We didn’t enter the studio with ⁣the ‍mindset of⁤ trying to outdo Persona Non Grata. ⁤We focus on what‍ excites us in the moment. If it doesn’t excite us, there’s no point in pursuing it.

Altus: ⁢Additionally, we’re not getting any younger. We’ve lost many heroes, and we understand ⁣that anything can happen at any time.That’s⁣ the reality we face. We‌ give everything we have⁢ left⁢ to the music⁢ and put​ it into the record. There’s no reason not to.

Distinct Yet Complementary Styles

Interviewer: Your lead guitar styles are unique​ yet work well together.

Altus: ⁣ I prefer a ⁤sweeter tone,so I incorporate more chorus ⁣and ​delay. Gary tends to favor a drier,more direct sound. He frequently enough jokes that he has three licks that he cycles through. But ‌when he plays,⁢ he shreds.I focus more on melody, which is why our styles complement‍ each other; we avoid sounding identical.

He’s the whammy-bar master.My background is more classical, so my⁢ solos tend to ​be more melodic than Gary’s. We used to joke and call him “Gary Bar” as of his exceptional whammy skills. ⁤He’s the Jimi Hendrix of metal.

Hostis Humani Generis – youtube

Exodus: The Thrash Metal‍ Titans Continue to Evolve

Holt: I incorporated some intense ⁤whammy solos on​ tracks like 3111 ⁣and Hostis Humani Generis. When I noticed they were sequenced back-to-back, I decided to rework one‍ to ensure they ‍felt distinct⁣ from each other.

“While learning Slayer songs, I⁣ frequently enough thought, ‘That’s a very Exodus-like riff.’ We’ve always influenced one another.”

Influences and⁢ Inspirations

Interviewer: do you think your⁢ time with Slayer has influenced Goliath?

Holt: I’ve likely absorbed​ some ⁣of that influence subconsciously. While learning Slayer’s music, I frequently recognized parts that felt distinctly Exodus.‌ Our musical paths have intertwined naturally,and we embraced that without overthinking it.

The Future of Slayer

Interviewer: ⁢ Can you envision ⁢Slayer recording together again?

Holt: ⁢ No, I believe Slayer has concluded⁤ their recording and touring days. Though, everyone enjoys each other’s company during these occasional shows. The world is vast, and Slayer can appear in various⁢ locations over the​ years without ‍repeating the same spot. ultimately, it’s up to [vocalist and bassist] Tom‍ Araya and Kerry King to decide. I’m not involved in those decisions, but when they call, I’m there.

Creative Processes and‍ Tools

Interviewer: Gary,you’ve mentioned ​using GarageBand‍ for ​songwriting. Isn’t that a bit outdated?

Holt: ‍I actually love GarageBand.It’s user-amiable, and I’m cozy with it, making it perfect for⁣ demos. I have my ‍own plugins and often use a single EZ Drummer beat throughout an entire song without changing it. Sometimes, it surprises Tom because it can be a six-minute track at 230 bpm. ‍I reassure him, “Don’t worry – this part is halftime.” I’m‌ just too lazy to program the‌ changes; I’ll let him know where they fit in.

Altus: I was somewhat of⁣ a dinosaur myself. Until this ⁢album, I wrote​ everything on a four-track. People ‌kept telling me, “Forget the 21st century; you need to catch ‍up to the 20th!”​ I loved my ⁤four-track, but I was constantly bouncing tracks, and by the time ⁢I sent ​the demos, the quality suffered. This time, I decided to⁤ go​ digital. I used Cakewalk and picked up the basics quickly. I thought,”If I ⁤had this earlier,I could ‌have written another ten albums⁤ by now.”

Studio Setup and ⁢Gear

Interviewer: What was your amplifier‌ setup like during the recording sessions?

Holt: We experimented ​with various amps before settling on my touring Marshall​ Jubilee. For rhythm tracks, ⁣it was similar to what I used on Persona ⁤Non Grata. I ‌played a 1984 Yamaha SPG-3000,which has perfect intonation and is ​an incredible guitar.

For lead ⁤parts, I used my ESP Custom Shop Eclipse, and for whammy effects, I relied on my old Jackson Strat from the Toxic Waltz era. For the harmony sections in‍ Goliath, I played my Brian May​ BMG Super equipped with Tri-Sonic pickups, which sounded fantastic.

exodus – Strike ‌of the Beast [Live Wacken 2008 DVD] HD ⁤- YouTube

Challenges of⁤ Touring as Musicians Age

Interviewer: Exodus continues to tour extensively, which is essential since multi-platinum‍ sales are a rarity these ​days. However, as‍ musicians age, maintaining the same​ high-energy ⁢performances can be challenging.

Holt: Physically, playing this⁢ kind of music isn’t as easy as it once⁢ was.I suffered from severe whiplash after ‌performing at the blue Ridge Rock Fest a ‌few years ago; I thought⁣ I had a blown disc. ‌An MRI revealed‌ it looked like⁤ I had ‍been in a car accident.Thankfully, no surgery was required. The issue arose as we hadn’t performed for six‌ months, and then I went out there and played as I always do.

Exodus⁢ Live at‌ Hellfest 2010 – YouTube

Motivation and Drive

Interviewer: What fuels that determination, and does‍ it lead to bitterness?

Holt: I’m quite well-adjusted and genuinely happy in ‌life. Though, as a band, exodus frequently enough thinks, “Why ​does Testament ‍recieve this recognition while we don’t?” The more we feel that chip on our shoulder, the harder we push ourselves. It becomes a positive driving force, which is why we still deliver powerful performances on stage. It’s why we continue to headbang with the same ‌intensity. It’s⁤ detrimental to me, ‌but I can’t help it.

Exodus: Thrash Metal’s Enduring Legacy

EXODUS – 3111 ​(CENSORED VERSION) – YouTube

Crafting Unique Sounds

Holt: I utilized some intense whammy solos on tracks like 3111 ⁣and Hostis Humani Generis. When I realized they were placed⁤ consecutively in the album, I⁢ decided⁣ to rework one to ensure they felt distinct from each other.

“While learning Slayer songs, I often thought, ‘That’s a very Exodus-like riff.’ We’ve always influenced one another.”

Influences and Inspirations

Interviewer: ⁤Do you think​ your experience with⁣ Slayer has influenced Goliath?

Holt: I’ve likely absorbed some of ‍that influence subconsciously. While learning Slayer’s music, I frequently recognized parts that felt distinctly Exodus. Our musical paths have intertwined naturally, and we​ embraced that without overthinking it.

The Future of Slayer

Interviewer: ​ Can you ⁣envision Slayer recording together again?

Holt: No, I believe Slayer has concluded their recording and touring days. However, everyone enjoys each other’s company during these occasional shows. ‍The world is vast, and Slayer can appear in various locations over the ⁤years without repeating the same ‍spot. Ultimately, it’s ⁤up to [vocalist and bassist] Tom Araya and Kerry king to decide. I’m not involved⁢ in those decisions,but when they call,I’m there.

Creative Processes and Tools

Interviewer: Gary, you’ve mentioned using GarageBand ⁣for⁣ songwriting. Isn’t that a bit outdated?

Holt: I ‌actually ​love GarageBand.It’s user-friendly, and I’m comfortable with it, making‍ it perfect for demos.I have my own plugins and often use ‌a single EZ Drummer beat throughout ⁣an entire song without changing it.Sometimes, it surprises Tom⁤ because it can be a six-minute track at 230 bpm. I reassure him, “Don’t worry – this part is halftime.” I’m just too lazy to ​program the changes; I’ll let him know⁢ where they fit in.

Altus: I was somewhat of ​a dinosaur myself. Until this album, I wrote⁢ everything on​ a four-track. People kept telling me, “Forget the 21st century; you need‌ to​ catch up to the 20th!” I loved my ‍four-track, but I was constantly bouncing tracks, and by the time I sent ‍the demos, the quality suffered.This time, I decided to go digital. I used Cakewalk and picked up ‍the basics quickly. I thought,”If⁤ I had this earlier,I could have written another ten albums by ​now.”

Studio Setup and gear

Interviewer: What was your amplifier setup like during the recording sessions?

Holt: We experimented with various amps before settling on ⁣my touring Marshall ⁣Jubilee. ‌For rhythm tracks, it was similar to what I used on Persona Non Grata. I played a 1984 Yamaha‌ SPG-3000, which⁤ has perfect intonation⁣ and ⁣is an incredible guitar.

For lead parts,I used my ESP Custom Shop Eclipse,and for whammy ‍effects,I relied on my old Jackson Strat from the Toxic Waltz era. For the harmony sections in Goliath, I played my Brian May‌ BMG Super⁣ equipped with Tri-Sonic pickups, which sounded fantastic.

Exodus – Strike of ⁤the‍ Beast [Live Wacken 2008 DVD] HD -‌ YouTube

Challenges ⁤of Touring ⁣as ​Musicians Age

Interviewer: Exodus continues to tour extensively, which is essential ​since multi-platinum sales are a⁢ rarity these days. Though, as musicians age, ⁤maintaining the ‌same high-energy⁣ performances can be challenging.

Holt: Physically,playing ⁤this ‍kind of⁢ music isn’t as ‌easy as it once was. I suffered from severe whiplash‍ after performing at the Blue Ridge Rock Fest a few ⁤years ago; I thought I had a blown disc. An MRI revealed it⁤ looked like I‌ had been in a car accident. Thankfully, no‍ surgery was‌ required. The issue arose because we hadn’t performed for​ six ⁢months,and then I went out there ⁢and played as ⁤I always do.

Motivation and Drive

Interviewer: What⁤ fuels that determination,‍ and does ⁤it lead to bitterness?

Holt: I’m quite‍ well-adjusted and genuinely happy in life.⁢ However, as a band, Exodus often thinks, “Why does Testament receive this recognition while we don’t?” The more we feel ​that chip on⁤ our⁣ shoulder, the‍ harder we push ourselves. It becomes a positive​ driving force, which ⁢is why ⁤we still deliver ‌powerful⁢ performances on stage. It’s why we ‌continue to headbang with the same intensity. It’s⁣ detrimental to me, ⁣but I can’t help it.

Endorsements and Gear Preferences

Interviewer: You’re‌ both endorsed by​ ESP.

Holt: They’re fantastic. They’ve crafted several Vs for me that I use regularly.They’re willing to build anything I envision. I send them ideas, like wanting‌ a cop badge on ‌the body of one guitar and bullet shell ⁣inlays that I’ll provide. ⁤Initially, they were unsure if they could import them into Japan,‍ even ⁣the spent ‍shells. But I insisted they had to be the ones I selected.⁢ I chose shells ranging from ⁢.50 caliber to .22, and they made it​ happen.

Altus: I started with jackson guitars but switched to ESPs in the 1990s and have been with them ever since.I own two ‍ESPs and appreciate their ‍versatility; they excel in metal ‍but can adapt to other styles. Some of the ESP Eclipses I play surpass Gibson‍ Les Pauls in quality.

James ⁤ [Hetfield] lent me a couple of his ESP ⁣snakebytes to try, and⁤ they⁣ played wonderfully. He suggested I create my​ own model, ‌but I thought, “How could I improve on this?” Someone else did it for me.

Modern Technology in Performance

Interviewer: Lee, you utilize a ​Quad Cortex modeler on stage.

Altus: I transitioned from Marshall amps to⁣ Diezel and then to my Mesa ​Boogie. Now, I ‍rely on the Mesa tones from⁣ the ​Quad full-time.We compared it to real amps, and live, the difference is indistinguishable. The⁢ convenience ⁢is invaluable, especially when ⁤flying to South America and not knowing what backline‍ will be available.

Holt: ⁢ I still tour with my ⁢amps whenever possible, but I use the ⁤Quad as a preamp for fly dates, connecting⁣ it​ to the effects return⁤ of rental​ amps.

Looking Ahead

Interviewer: After 40 years, what ⁤keeps this exciting?

Altus: Those small moments in the studio when someone finally nails a part and everyone celebrates with high-fives. The fact‌ that we still care about the ‍music ⁤- that’s⁢ the real victory.

Holt: If we’re lucky, others will ⁤enjoy it too.‌ But ⁢first and foremost, we have to love what‌ we create. I still find ⁣joy in​ performing live, though I’d prefer not to injure my neck again.

Interviewer: with Slayer and Megadeth stepping back from recording, ⁤do you see Exodus as one of the surviving bands from⁢ the Big Four, alongside⁣ Metallica, Anthrax, and perhaps Testament?

holt: I’ve never focused on the Big⁣ Four. I’ve always felt we’re the torchbearers​ in this genre. People‌ often ask if I’m ⁣upset about being left out, and my response is consistent: I‍ know where I was when this‌ genre was⁣ born, and I know where others weren’t. That’s enough for me. I don’t need​ anyone else⁣ to rewrite ⁣history because I was part of‍ it.