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Tracks like “Beyond The Event Horizon” and “2 Minutes Hate” provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like “Violence Works”. The nearly eight-minute epic “Summon Of The God Unknown” turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power packed closer “The Dirtiest Of The Dozen” wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. 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Ode to owning one’s own volatility “Hostis Humani Generis” features a palpable lyrical delivery from Rob Dukes that cuts like crystal amid frenetic riffs, before rolling into “The Changing Me”. The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings – blending menace and melody with the skyscraping screams and cleans of guest Peter Tägtgren (Hypocrisy, Pain) and harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. “Promise You This” incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt, prior to colossal title track “Goliath” simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars. The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like “Beyond The Event Horizon” and “2 Minutes Hate” provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like “Violence Works”. The nearly eight-minute epic “Summon Of The God Unknown” turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power packed closer “The Dirtiest Of The Dozen” wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. 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Limited to 500 units. This product also includes a booklet.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Top-charting originators of thrash EXODUS have emerged hungrier than ever in 2026. Resurging at full force with their 12th studio album and Napalm Records debut, Goliath (out March 20, 2026), the band reinforces their eternal foothold at the top of thrash metal's hierarchy with 10 of their most diverse, anthemic emissions to date. Further fueled by the widely embraced return of iconic late-era frontman Rob Dukes – first appearing on 2005’s Shovel Headed Kill Machine – the album boasts what the band describes as the performance of his life. 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The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings – blending menace and melody with the skyscraping screams and cleans of guest Peter Tägtgren (Hypocrisy, Pain) and harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. “Promise You This” incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt, prior to colossal title track “Goliath” simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars. The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like “Beyond The Event Horizon” and “2 Minutes Hate” provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like “Violence Works”. The nearly eight-minute epic “Summon Of The God Unknown” turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power packed closer “The Dirtiest Of The Dozen” wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. 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Limited to 1,000 units.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Top-charting originators of thrash EXODUS have emerged hungrier than ever in 2026. Resurging at full force with their 12th studio album and Napalm Records debut, Goliath (out March 20, 2026), the band reinforces their eternal foothold at the top of thrash metal's hierarchy with 10 of their most diverse, anthemic emissions to date. Further fueled by the widely embraced return of iconic late-era frontman Rob Dukes – first appearing on 2005’s Shovel Headed Kill Machine – the album boasts what the band describes as the performance of his life. Goliath is EXODUS’ most collaborative record in their four decade-plus history, featuring songs written by several band members and guest contributions from Peter Tägtgren (Hypocrisy, Pain) and violinist Katie Jacoby.\u003c\/p\u003e\n\u003cp\u003eGoliath wastes no time proving as massive as its name, with a sinister introduction opening “3111” that strikes dissonant chords before careening into breakneck thrash intensity. Ode to owning one’s own volatility “Hostis Humani Generis” features a palpable lyrical delivery from Rob Dukes that cuts like crystal amid frenetic riffs, before rolling into “The Changing Me”. The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings – blending menace and melody with the skyscraping screams and cleans of guest Peter Tägtgren (Hypocrisy, Pain) and harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. “Promise You This” incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt, prior to colossal title track “Goliath” simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars. The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like “Beyond The Event Horizon” and “2 Minutes Hate” provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like “Violence Works”. The nearly eight-minute epic “Summon Of The God Unknown” turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power packed closer “The Dirtiest Of The Dozen” wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. Flurried dueling solos, an isolated bass excursion, rigorous drum dexterity and a blend of both gritty vocal passages and cutting chants combine to serve as yet another prime example of the band’s ever-evolving musical mastery.\u003c\/p\u003e\n\u003cp\u003eProduced, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint Bonded By Blood. 40 years later, EXODUS are steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition.\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e3111\u003c\/li\u003e\n\u003cli\u003eHostis Humani Generis \u003c\/li\u003e\n\u003cli\u003eThe Changing Me (feat. 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A direct continuation of OPVS NOIR Vol. 1 and Vol. 2, which were both unveiled in 2025, it releases on April 10, 2026 and gloriously expands on the genre-defying band’s opus. The most out of the box of the three, the third and final part of their latest journey has the six-piece end this chapter of their career on a fulminant high note, intertwining heavy guitars and dark electronica with compassionate messages and cinematic orchestrals.\u003c\/p\u003e\n\u003cp\u003eAnother 11 enchanting songs extend the Hamburg-based band’s colorful repertoire. Following the captivating BLOOD \u0026amp; GLITTER, which brought them to the grand final of the Eurovision Song Contest 2023 and a #1 chart entry in their native Germany to go along with it, LORD OF THE LOST once again demonstrate their unmatched diversity. 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Next, Chris Harms and parting KISSIN’ DYNAMITE frontman Hannes Braun deliver the bombastic “La Vie Est Hell” (based on Charles Baudelaire’s influential book of poetry, “Les Fleurs du mal”) partly in French language, before going back to “Square One”. “When Did The Love Break?” is a heartfelt song of lost love – the addition of whimsical vocals by Ambre Vourvahis of XANDRIA drives the emotions of this universal topic right home. After “Your Love Is Colder Than Death”, LORD OF THE LOST team up with Damien Edwards of British glam rock band CATS IN SPACE for the captivating duet “Take Me Far Away”, before the album closes with a ballad, “The Days Of Our Lives” – the sweeping track simultaneously being the closest LORD OF THE LOST have ever been to a cinematic soundtrack. The happy ending is skipped, almost making it sound like a goodbye…\u003c\/p\u003e\n\u003cp\u003eOPVS NOIR Vol. 3 continues to walk LORD OF THE LOST’s unpredictable journey without settling for the familiar. 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Initiated by beautiful cello melodies, “Kill The Lights” is an overture like no other, setting a dark mood, but also unafraid to switch it up to make room for catchy and reassuring “I’m A Diamond” featuring Alea, frontman of German medieval metal torchbearers SALTATIO MORTIS. “My Funeral”, despite the name, picks up the positive message, expanding the near-gothic soundscapes while sprinkling in tongue-in-cheek lyrics, promoting black as a happy color – wear pink to their funeral! Stomping “I Hate People” invites horror punk icon WEDNESDAY 13 to an industrial duet about equality, after which gentle “The Shadows Within” hits twice as hard with its symphonic arrangement. 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