The 80's Thrash Metal scene was dominated by the big four and then a huge pack of impersonators, new innovators and one or two also rans; and somewhere in amongst this melee of flailing arms and legs came Exodus. Truly one of the originators of the Bay Area scene and certainly a band that can claim to have seen it, done it and to have the t-shirt, along with their more than fair share of bad luck and hard knocks.

2004's "Tempo Of The Damned", Exodus first studio album since 1993's limp "Force Of Habit", saw four fifths of the classic Exodus line-up return to duty, and what a rapturous return to form it was. Brutal and everything we had come to expect from Exodus. Little over one year on and it appeared to all that the honeymoon was over and the wheels had well and truly fallen off the Exodus bandwagon. Zetro relented and gave up on life on the road, Tom Hunting succumbed to a nervous break down and Rick Hunolt's continued substance abuse made his relationship with Exodus untenable. Leaving Gary Holt the last man standing. However out of adversity comes greatness and with a few familiar faces of the Thrash scene of old, in the form of ex-Heathen guitarist Lee Altus and ex-Forbidden / Slayer sticks-man Paul Bostaph, "Shovel Headed Kill Machine" was born. It was however the announcement of new lead singer Rob Dukes, a relative unknown and one time Exodus guitar tech, that caused more than one or two eyebrows to be raised. 

"Shovel Headed Kill Machine" begins in vintage Exodus fashion, a full on assault in the shape of "Raze", a throw back to what the early nineties had to offer pre-grundge and by the time you reach the albums second track, and one of the records highlights "Deathamphetamine" you do begin to wonder just how the album can sustain this break neck speed. Dukes vocals roar and bellow and are the perfect accompaniment to the Holt / Altus dual guitar attack. Similarities between Dukes and Zetro's vocal style are bound to arise, yet it would be an unfair comparison to label Dukes anything less than his own man, as he offers a perfect balance between aggression and insanity and the perfect way to usher the new Exodus into existence.

Exodus were never ones for acts of subtly and in "Shovel Headed Kill Machine", so named after a crew members pit bull, lives up to his name, stomping and raging from beginning to end. As is standard practice for all acts with a hint of Thrash roots, Andy Sneap masters and mix's his way onto the album, leaving Gary Holt to make his debut behind the production desk. Production is clean enough to appreciate the effort these Thrash old timers have made, while still leaving enough distorted mayhem to keep your ears under full assault. For those to young to remember the first wave of Thrash metal, welcome to this, the ferocious second coming.