Large and in charge? Exodus have been thrashing away since 1979, and very few bands have a stronger claim to the history of American thrash metal. Formed in Richmond, California, and eventually becoming one of the defining bands of the Bay Area scene, Exodus built their reputation on vicious guitar work, frantic drumming, aggressive vocals, and songs that could turn a mosh pit into a war zone. With Goliath, the return of Rob Dukes puts another familiar voice back at the front of the band, and there is no shortage of evidence that these musicians still know exactly how to play this style. The frustrating part is that the album often feels longer than it needs to be, with several songs taking a long fucking time to reach the sections where the band are actually firing on all cylinders.

“3111” starts with a slower, menacing crawl before eventually exploding into the kind of ripping thrash that reminds you why Exodus are still such a respected name. The guitars have plenty of bite, and there are some great wailing moments as the song develops, but the opening stretch feels padded. The drums are surprisingly restrained compared with what you might expect from Tom Hunting, and some of the mid-paced sections don't have enough rhythmic variation to keep the song moving. Once the riffs become more aggressive, everything improves considerably. The problem is that by then you've already spent a lot of time waiting for the song to get there.

“Hostis Humani Generis” has a similar slow-burning structure, but the payoff is considerably stronger. The guitars become more frantic, Rob Dukes sounds completely at home screaming over the riffing, and the song carries a darker sense of urgency. There are some hypnotic guitar patterns buried underneath the aggression, and when the rhythm section locks into those sections, Exodus sound fucking dangerous. The guitar solo also fits naturally into the song rather than feeling like something added simply because Exodus are expected to have a guitar solo. Still, the band have a tendency to hang around after they've already made their strongest point.

“The Changing Me” featuring Peter Tägtgren is one of the more interesting tracks because it gives Exodus an opportunity to loosen the traditional thrash formula. The guitars still have plenty of muscle, but the song moves into a broader, more melodic territory, and Tägtgren adds another vocal texture without making the collaboration feel like a publicity stunt. The arrangement actually develops enough that its longer runtime feels justified. There is a groove underneath the thrash that gives the song some breathing room, and the guitar work remains one of the strongest parts. This is the kind of experimentation that works because it expands what Exodus are already good at rather than distracting from it.

“Promise You This” gets back into more familiar territory with crunchy riffs, tight guitars, and that unmistakable Exodus attitude. The guitar work is excellent, particularly once the solo arrives, but the drums once again feel less dynamic than the riffs deserve. Jack Gibson's bass does provide some much-needed low-end movement, although I still found myself wishing the rhythm section had more opportunities to take control. The song is enjoyable, but it feels like one Exodus could probably write in their sleep, which is both a compliment to their experience and a criticism of how predictable some of the material becomes.

“Goliath” itself takes a slower, darker route, opening with thick bass and ominous guitars before gradually developing into a heavier, more spacious composition. The addition of Katie Jacoby's strings is an interesting choice, and the orchestral texture gives the title track something different from the straight-ahead thrash surrounding it. The problem is that the song doesn't always feel as enormous as its name promises. There are some genuinely strong guitar moments, but once again the band stretches the central idea long enough that the impact starts to fade before the end.

“Beyond The Event Horizon” is where the album gets some much-needed urgency back. The faster riffs and more energetic drums immediately make Exodus sound younger and more dangerous, while Dukes spits his vocals over the top with plenty of venom. The song still repeats some of its central patterns, but the pace makes that repetition much easier to tolerate. This is one of the tracks where the band sound less like veteran musicians carefully constructing a long-form thrash song and more like five dudes who just want to fucking smash through a wall.

“2 Minutes Hate” has one of the funniest titles on the album when you consider that the song itself lasts nearly five minutes. The riffs aren't bad at all, and there are some enjoyable guitar solos, but this is another example of Exodus refusing to leave the party after everybody else has gone home. There are sections that sound good but don't necessarily need to be there. The gang vocals give the ending some extra punch, but the song would have been much more effective with a little trimming.

“Violence Works” gets more interesting by bringing funky bass and higher guitar parts into the mix before settling into another dense thrash groove. These little changes are exactly what I wanted more of from the album. They give the song some character without making Exodus sound like they're desperately chasing another genre. The problem is that the different ideas don't always transition naturally. You can hear the band experimenting, but the parts sometimes feel like separate sections stuck together rather than one composition developing organically.

“Summon Of The God Unknown” is one of the album's longest tracks and unfortunately one of the clearest examples of where the runtime becomes an issue. There is nothing wrong with the musicianship. The riffs are heavy, the solos are strong, and the slower atmosphere creates a darker mood. But by the halfway point, I was already wishing the band would move things along. The extended arrangement eventually finds its way into heavier territory, and the guitar work toward the end is excellent, but it takes too long to get there. It's a seven-minute-plus song that often feels like it is still searching for its best section after you've already found it.

“The Dirtiest Of The Dozen” closes the record with considerably more energy. The guitars come ripping out, Hunting sounds much more animated behind the kit, the bass becomes easier to appreciate, and the gang vocals give the ending a proper live-show feeling. The dueling guitars and faster pace make it one of the more enjoyable tracks because there is less empty space between the ideas. It doesn't completely erase the pacing problems elsewhere, but it does leave the album with a stronger final impression.

The biggest strength of Goliath is obvious: Exodus can fucking play. Gary Holt and Lee Altus still deliver the sharp guitar work you'd expect, the solos remain a huge part of the band's identity, Hunting is more than capable of keeping the songs moving, and Jack Gibson gives the heavier sections the low-end support they need. Rob Dukes also sounds completely comfortable back in the band. His harsher, more aggressive delivery suits this material, particularly when the riffs become faster and more violent.

The problem isn't ability. It's restraint. Too many songs feel as though Exodus have found their strongest riff and then decided to build an extra couple of minutes around it. The band clearly have enough material and experience to write long songs, but length doesn't automatically equal scale. Some of these tracks would actually feel bigger if they were shorter because the strongest riffs would have more impact when they arrived.

The production is generally solid enough to let the instruments remain distinct, and the guitars are obviously the stars of the show. Still, the rhythm section doesn't always receive the same attention. Hunting's playing can feel surprisingly basic during some of the longer mid-tempo passages, and Gibson's bass sometimes disappears when it could be providing another layer of movement. When the drums become more aggressive and the bass pushes through, as they do on the stronger sections of “Beyond The Event Horizon” and “The Dirtiest Of The Dozen,” the entire band sounds much more alive.

I also think Goliath works best when Exodus allow themselves small changes rather than giant stylistic detours. “The Changing Me” proves they can bring in a guest vocalist and a more melodic direction without losing their identity. “Goliath” uses strings without completely abandoning the band's heaviness. “Violence Works” introduces a different rhythmic feel. Those moments are far more effective than simply slowing down another riff for three minutes.

Ultimately, Goliath is a frustrating record because there are some really good Exodus songs buried inside it. “Hostis Humani Generis,” “The Changing Me,” “Beyond The Event Horizon,” and “The Dirtiest Of The Dozen” all show different versions of the band working at a high level, while “3111,” “Goliath,” and “Summon Of The God Unknown” demonstrate how easily their songwriting can become overextended. The musicianship is never really the question. The editing is.

Exodus don't need to prove that they can write long thrash songs. They've been doing this longer than most bands have even existed. What I wanted from Goliath was a little more confidence in knowing when a riff had already said everything it needed to say. The best parts of the record are the ones where the band stop stretching and simply fucking attack.

Goliath still has plenty of fire in it. The guitars sound dangerous, Dukes brings plenty of aggression, the solos remain excellent, and there are enough bursts of classic Exodus energy to keep longtime fans interested. But there is too much repetition and unnecessary runtime getting in the way of what could have been a much more focused record. Exodus are still enormous when they lock in. I just wish they spent less time proving how big the songs are and more time making every minute count.