Album Review: Exhorder - Defectum Omnium
Reviewed by Gareth Pugh
Would you believe, there’s been an almost five year hiatus since Exorder’s fantastic comeback album ‘Mourn the Southern Skies’, in 2019. OK so the wait for ‘Defectum Omnium’ isn’t quite as long as the massive 27-year gap between second album 1992’s ‘The Law’ and album number three, but the anticipation is almost as great.
There’s been a plethora of changes since album number three, not only was there a global pandemic, but also original guitarist and songwriter Vinnie LaBella has departed, as has second guitarist Marzi Montazeri, and the rhythm guitar duties have now been taken over by vocalist Kyle Thomas, doubling up his responsibilities, and the lead guitar duties are now handled by death metal virtuoso, and ex-Cannibal Corpse guitarist, Pat O’ Brian, there has been some continuity with the retention of rhythm section of bassist Jason Viebrooks and drummer Sasha Horn, both of whom have been onboard since 2017.
With an exemplary back catalogue ‘Defectum Omnium’ has a lot to live up to, ‘Slaughter in the Vatican’ was not just a shock release because of its striking cover art, it contained a supremely tight thrash attack enhanced by the addition of some sublime groove elements to create an original sound that influenced a hundred other bands. Those groove elements were pushed even more to the fore on sophomore album ‘The Law’, while ‘Mourn the Southern Skies’ saw the band increase the melody and add some doom and southern rock influences to excellent effect. That’s not to say it was any less heavy than its predecessors, it just added some new and much welcomed variety, whilst perhaps dialling back the out and out thrash influences of yore. Now if you missed those thrash riffs, fear not, ‘Defectum Omnium’ is what you have been waiting for.
Opening with the snarling, hardcore tinged ‘Wrath of Prophecies’, the band show they haven’t forgotten, or lost those original thrash metal influences and attitude, and is as perhaps as fast as the band have ever been. ‘Under the Gaslight’ strolls in with a real swagger, the bass of Viebrooks underpinning the chunky guitar work. ‘Forever and Beyond Despair’ is a multifaceted beast, starting with a brutal, punkish assault, the chords then open into a more spacious groove, with O’Brian adding some stunning leads throughout. ‘The Tale of Unsound Minds’ is a personal favourite, with its doomy crawl and soaring melodies.
I have seen interviews that have said this isn’t a ‘real’ Exhorder release because Kyle Thomas is the only surviving member from the original line-up, but for me it is safe to say that this is the most diverse sounding Exhorder album have released. It combines elements of all the previous three releases, but also adds more diversity and integrates those new sounds seamlessly into the Exhorder whole. It’s natural that this isn’t exactly like the band of old but it’s still very much an Exhorder album.
Both aggression and melody are equally represented here, with the band seemingly able to blend sheets of rolling riffage with distinctive and memorable vocal hooks and choruses. As well as plenty of two-to-three minute stompers, with lots of bludgeoning riffage. Take the three-and-a-half-minute single, ‘Year of the Goat’ with its punishing refrain, the band hasn’t been afraid to experiment. Take the combined seven minute ‘Defectum Omnium/Stolen Hope’, the first part comprising haunting Latin chanting before a thick, groove stomp kicks in. While ‘Three Stages of Truth - Lacing the Well’ is another ambitious, expansive seven minute epic with a haunting intro, clean guitar and classical influences before concluding in a bruising atmospheric romp.
Not only is the songwriting more varied, but the band have also never sounded this good before, the production is nothing short of superb, the guitars are thick and gnarly, with a triumphantly heavy crunch, while the drums and bass are simply massive, with Thomas’ distinctive vocals nicely placed in the mix. If you were in anyway concerned that the changes in personal might affect the new albums quality, fear not, the future is in safe hands. The songwriting is as strong, stronger even and the addition of Pat O’Brian, who didn’t contribute to the actual song crafting this time around due to coming in late to the creative process, but his leads and solos have added another dimension to an already potent brew. This is already lining up to be one of the albums of the year, let’s hope it isn’t another fiveyears until the next album, because quite frankly this is stunning.
