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Exhorder

Exhorder is an American thrash and band formed in 1986 in New Orleans, Louisiana, known for pioneering the groove-oriented thrash sound and influencing later acts in the genre. The band emerged from the local scene, releasing their debut demo Get Rude in 1986 and the controversial demo in 1987, before briefly disbanding in early 1988 and reforming later that year. Signed to R/C Records, Exhorder released their seminal debut in 1990, produced by Scott Burns, which featured aggressive riffs and themes of anti-religion and . Following lineup changes, they issued their second The Law in 1992, incorporating elements of while maintaining their thrash roots. The band disbanded in 1994 amid various challenges but reunited sporadically in 1998, 2003, and 2008–2011 for performances. In 2017, Exhorder fully reactivated, signing with Records and releasing their third studio album Mourn the Southern Skies in 2019, which addressed themes of violence, death, society, and politics. Their fourth album, Defectum Omnium, followed in 2024, marking a return to blistering with tracks like "Year of the Goat" and "Forever and Beyond Despair." Often credited with inventing the groove-thrash hybrid later popularized by , Exhorder's raw, down-tuned aggression and New Orleans grit have earned them a in the metal underground. As of 2025, the lineup includes vocalist and guitarist Kyle Thomas, guitarist Pat O'Brien, bassist Jason Viebrooks, and drummer Sasha Horn, with the band continuing to tour and (using additional touring guitarists for some international dates) and working on material for a fifth studio album expected in 2027.

History

Formation and early career (1985–1989)

Exhorder was formed in 1985 in New Orleans, Louisiana, by vocalist Kyle Thomas, lead guitarist Vinnie LaBella, bassist Andy Villafarra, and drummer Chris Nail, childhood friends drawn together through the local music scene. The band emerged amid a vibrant but challenging environment in New Orleans, where the dominant trends often sidelined heavier acts; Exhorder instead found support within the city's community, performing at underground venues and building a grassroots following. Their early sound was rooted in influences from bands like and Metallica, emphasizing aggressive riffs and high-speed precision blended with energy. During their initial years, Exhorder focused on rigorous rehearsals and honing their raw, high-octane style, maintaining a stable lineup that allowed them to solidify their songwriting and stage presence in local circuits. Guitarist Jay Ceravolo joined in 1988, bolstering the dual-guitar attack. In 1986, they self-released their debut demo Get Rude, recorded in September at Stonee's Studio in Kenner, Louisiana, which captured a pure thrash metal aggression with tracks like "Legions of Death" showcasing their blistering tempos and anti-establishment lyrics. The demo circulated in underground tape-trading networks, helping the band gain initial notoriety beyond New Orleans. By 1987, Exhorder entered Ultrasonic Studios to record their second demo, Slaughter in the Vatican, which refined their sound with heavier grooves and controversial themes targeting religion and authority, including standout tracks like "Homicide" and "Desecrator." Mixed and mastered at South Lake Studios, the demo received positive underground buzz, featured in publications such as Maximum Rocknroll and Thrasher Magazine, and attracted label interest after an initial deal with the short-lived Mean Machine Records fell through. This exposure culminated in their signing with Roadrunner Records (via its R/C Records imprint) in 1989, marking the end of their formative independent phase.

Breakthrough albums and disbandment (1990–1994)

Exhorder achieved their major label breakthrough with the release of their debut album Slaughter in the Vatican on October 23, 1990, through Roadracer Records, a subsidiary of Roadrunner Records. Produced by Scott Burns at Morrisound Recording in Tampa, Florida, the album showcased the band's aggressive riffs infused with a southern metal edge, drawing from their New Orleans roots. This release marked a significant step up from their earlier independent demos, establishing Exhorder as innovators in the emerging groove metal scene. In support of Slaughter in the Vatican, the band embarked on extensive touring across the and , including a month-long low-budget headlining tour through the , , , and in 1991. These performances, often alongside acts like and , helped cultivate a dedicated among metal enthusiasts, despite limited radio play and promotional support from the label. The band's second album, The Law, arrived on March 15, 1992, via , produced by Rob Beaton at New Orleans Recording Co. in New Orleans, . Shifting toward slower, heavier grooves while retaining their thrash foundation, the record experimented with more atmospheric elements but received mixed reception compared to the debut's raw intensity. Around this period, Exhorder faced a key lineup change with Andy Villafarra departing in 1990, replaced by Frankie Sparcello for the recording and subsequent tours. As touring continued into 1993, escalating internal tensions, including creative differences and personal conflicts among members, compounded by frustrations with Roadrunner's inadequate promotion and distribution, eroded band cohesion. These challenges culminated in a series of final shows in 1993 and 1994, after which Exhorder officially disbanded in 1994, effectively ending their initial run amid the evolving metal landscape of the mid-1990s.

First reunion and dissolution (2008–2011)

In May 2008, Exhorder announced their reunion with the original lineup of vocalist Kyle Thomas, guitarist Vinnie LaBella, guitarist Jay Ceravolo, and drummer Chris Nail, marking the band's return after a 14-year hiatus. The decision was driven by persistent fan demand, as evidenced by ongoing calls for the group's revival amid reissues of their classic albums Slaughter in the Vatican and The Law that same year, which highlighted their enduring influence in the metal scene. This timing also aligned closely with the near-20th anniversary of their 1990 debut album, fueling interest in commemorative performances. The reunited band focused on live activities rather than new recordings, delivering their first show on November 14, 2009, at Southport Hall in New Orleans. They followed with appearances at major festivals, including in 2010 and Thrashdom USA later that year, alongside select U.S. tours that showcased their signature groove-thrash sound to enthusiastic crowds. In 2009, original bassist Frankie Sparcello rejoined the group, bolstering the rhythm section with his contributions from the 1992 album The Law. However, lineup changes occurred as departed in late 2010, with drummer stepping in as a temporary replacement for subsequent shows, including a hometown performance at The Hangar on December 10, 2010. Tragedy struck on March 22, 2011, when Sparcello died at age 40 from an undisclosed illness, just weeks before the band was set to perform at IX. The loss deeply affected the members, leading to an immediate hiatus and the emotional dissolution of the reunion, as the group mourned their longtime friend and collaborator without plans for continuation at the time.

Second reunion and revival (2017–2020)

In November 2017, Exhorder announced their reformation, featuring original members vocalist Kyle Thomas and guitarist Vinnie LaBella, alongside guitarist Marzi Montazeri, bassist Jason VieBrooks, and drummer Eric Morency. The lineup drew from the band's classic era, aiming to revive their sound through a series of live performances, building on the momentum from their brief 2008–2011 reunion without repeating its limited scope. The band signed with in November 2018, securing worldwide distribution for their upcoming material and marking a significant step toward new recordings after decades of inactivity. This deal facilitated the production of their first studio album in 27 years, , which was recorded by Duane Simoneaux at OCD Recording And Production in New Orleans and mixed and mastered by at Fascination Street Studios in . Released on September 20, 2019, the album included tracks such as the "My Time," emphasizing themes of reflection and resilience in the band's signature aggressive style. Following the album's release, Exhorder embarked on extensive touring, including support slots on Kataklysm's " Over " tour in fall 2019 alongside and , and a U.S. headlining run earlier that year. In early 2020, they joined Overkill's "Wings Over USA" tour as special guests, performing across venues from Anaheim to and delivering high-energy sets that showcased material from alongside classics. Guitarist Vinnie LaBella departed the band in February , with the split described as mutual, leaving Thomas as the sole remaining founding member amid preparations for further shows. This change occurred as the began disrupting the music industry, leading to the cancellation of remaining tour dates, including later legs of the run, and halting live performances that forced the band to pause momentum just as their revival gained traction. The early impacts strained band dynamics, with travel restrictions and venue closures preventing the group from capitalizing on the album's positive reception.

Recent developments (2021–present)

Following the departure of Marzi Montazeri on , 2022, due to creative differences, Exhorder experienced a brief period without a lead before welcoming former member Pat O'Brien into the fold later that year. O'Brien made his live debut with the band at in May 2022 and was officially announced as a permanent member in January 2024, coinciding with preparations for new material. This shift also saw vocalist Kyle Thomas return to duties, solidifying the current lineup alongside Jason VieBrooks, who joined in 2017, and drummer Sasha Horn (joined 2019). The band marked a significant milestone with the release of their fourth studio album, Defectum Omnium, on March 8, 2024, through Nuclear Blast Records. Produced by the band themselves, the album features 11 tracks blending their signature aggression with fresh intensity, including the "Year of the Goat," which premiered in January 2024 and pays homage to Motörhead's punk-infused influence. Recorded primarily at Ranch in , Defectum Omnium—Latin for "The Failure of All Things"—explores themes of despair and , receiving praise for its raw energy and O'Brien's searing leads. Touring resumed in earnest after disruptions, with Exhorder serving as support for Overkill's "Scorching the Earth" U.S. tour in July 2023, alongside , covering cities from to . The band then launched their own U.S. headlining run in March 2025, a three-week East Coast and Midwest trek featuring support acts including Void, Herakleion, Freya, Restless Spirit, and Flesh Parade on select dates, kicking off March 11 in and wrapping March 27 in Tampa. International activity followed, with confirmed European dates such as the November 25, 2025, performance at SKCNS Fabrika in , , as part of a fall . In November 2025, frontman Kyle Thomas announced that Exhorder had begun work on new material for their fifth studio album, tentatively slated for release in 2027, with the band emphasizing a deliberate, unhurried production process to ensure quality. Thomas noted early contributions from VieBrooks, including four to six song skeletons demoed with Horn, signaling a continued evolution in the band's sound while maintaining their groove metal roots.

Musical style and influences

Groove metal characteristics

Exhorder's sound fuses the rapid tempos and technical precision of with groove-oriented, syncopated riffs that emphasize rhythmic heft and swing, drawing from southern rock's bluesy swagger rooted in their New Orleans origins. The band's influences include acts like Led Zeppelin and , such as and , punk and hardcore from the local scene, and pioneers like , whose album Hell Awaits significantly impacted vocalist Kyle Thomas. This blend creates a post-thrash aggression characterized by mid-tempo chugs and off-beat accents that prioritize momentum over sheer speed, as heard in tracks like "Homicide" from their debut album. Vocalist Kyle Thomas delivers an aggressive, shouted that conveys raw intensity and charisma, often employing throat-shredding screams in a vein while incorporating occasional clean, direct phrasing for melodic contrast and emotional depth. His delivery aligns with the band's groove focus, providing a commanding presence that locks into the cycles without overpowering the drive. The band's production evolved from the raw, death-infused edge of their early work, handled by Scott Burns at Morrisound Recording, which captured a gritty, high-energy thrash tone with punchy guitars and relentless drum clarity despite budget constraints. Later releases shifted to more polished mixes, as on Mourn the Southern Skies (2019), co-produced by guitarist Vinnie LaBella and Duane Simoneaux, emphasizing massive, devastating clarity that enhances the syncopated grooves and southern-inflected textures. This progression continued with Defectum Omnium (2024), produced by the band and Jens Bogren, featuring full, crunchy, and punishing sound that maintains the aggressive groove-thrash core while adding raw clarity to the riffs and vocals. Rhythmically, Exhorder prioritizes down-tuned guitars delivering thick, chugging riffs alongside double-kick drum patterns that drive mosh-pit-friendly structures, fostering a sense of propulsion and physicality suited to live aggression. This focus on and groove creates accessible yet brutal dynamics, with bass lines and drums interlocking to support the guitars' swaggering pulse. Exhorder is credited with pioneering groove metal's angry, post-thrash aggression through their late-1980s demos, such as Get Rude (1986) and the Slaughter in the Vatican demo (1987), where they first integrated thrash speed with syncopated, southern-flavored riffs predating the genre's mainstream codification. These recordings established a template for groove metal's emphasis on rhythmic innovation and regional influences, influencing the subgenre's development in the early 1990s.

Comparisons and rivalries with Pantera

Exhorder's albums Slaughter in the Vatican (1990) and The Law (1992) exhibit notable similarities in riff structures and groove elements with Pantera's Vulgar Display of Power (1992), including aggressive, mid-tempo thrash-infused riffs emphasizing rhythmic heaviness and down-picked precision. These parallels stem from both bands' evolution toward a heavier, groove-oriented thrash sound in the early 1990s, with shared influences from the New Orleans metal scene. Fans and critics have long accused of copying Exhorder's sound, particularly as achieved greater commercial success following their shift from to a more aggressive style in the early 1990s. These claims intensified after 's rise, with some pointing to specific riff resemblances and vocal delivery similarities between Exhorder's Kyle Thomas and 's . In a , Exhorder vocalist Kyle Thomas acknowledged mutual influences between the bands but emphasized Pantera's superior promotion and work ethic as key to their mainstream breakthrough, stating, "They worked extremely hard—a lot harder than we did—for their success." Thomas noted Anselmo's personal fandom of Exhorder and his role in promoting their demos in the Dallas-Fort Worth area, while maintaining there was no outright theft, only shared regional inspirations. No formal rivalry ever developed between the bands, as evidenced by guitarist Vinnie LaBella's 2024 comments on their longstanding friendship and shared New Orleans roots: "Phil is from New Orleans, like we are. We’ve known each other since we were teenagers." LaBella reflected on past tensions over "who came first" but expressed no bitterness, adding, "As much beef as we had back in the day... they were great for metal back then; they kept everybody on the map." The comparisons have fueled ongoing debates in metal media, positioning Exhorder as potential " inventors" due to their earlier albums, contrasted with 's broader cultural impact and sales dominance in the genre. These discussions often highlight how Exhorder's underground status amplified perceptions of Pantera's borrowings, while crediting for popularizing the style globally.

Band members

Current members

The current lineup of Exhorder, as of 2025, consists of vocalist and rhythm guitarist Kyle Thomas, lead guitarist Pat O'Brien, bassist Jason VieBrooks, and drummer Sasha Horn. Kyle Thomas has served as the band's vocalist and primary songwriter since its formation in 1985, also taking on rhythm guitar duties from 2022 onward as the enduring frontman who shapes Exhorder's signature groove metal sound. Pat O'Brien joined as lead guitarist in 2024, bringing his technical prowess and aggressive soloing style honed during his tenure with to enhance the band's live performances and studio recordings. Jason VieBrooks has provided bass since 2017, delivering the solid low-end foundation that stabilizes Exhorder's heavy, riff-driven grooves on recent material. Sasha Horn joined on drums in 2017, contributing precise and energetic rhythms that power the band's complex arrangements during tours and album sessions. This lineup collaborated on the band's 2024 album Defectum Omnium, which revitalized Exhorder's thrash-infused sound with tracks emphasizing raw aggression and southern metal influences, and has supported the group's ongoing 2025 European and North American tour dates.

Live and touring members

For international tours, Exhorder employs additional guitarists: Waldemar Sorychta on (2022–present) and Apollo Xydias on (2023–present). Pat O'Brien handles U.S. dates due to touring restrictions.

Former members

Exhorder's lineup has undergone significant changes throughout its history, with several founding and long-term members departing during periods of inactivity or personal transitions. These former members played pivotal roles in defining the band's sound, particularly during its formative years and reunions. Vinnie LaBella, a co-founder of the band, served as lead guitarist from 1985 to 2020 and was instrumental in crafting the riff-heavy style heard on early albums such as Slaughter in the Vatican (1990) and The Law (1992). He contributed significantly to the band's songwriting, including key tracks that influenced the groove metal genre. LaBella parted ways with Exhorder in February 2020 through a mutual agreement, allowing the band to continue without specifying further personal details. Chris Nail was the original drummer, active from 1985 to 2010 with intermittent breaks, and appeared on the band's breakthrough releases (1990) and The Law (1992), providing the aggressive, thrash-influenced beats that anchored Exhorder's . His tenure spanned the band's initial rise and early reunions, contributing to the raw energy of their live performances during the late 1980s and early 1990s. Nail stepped away around 2010 due to personal commitments, as noted in band interviews reflecting on lineup shifts. Jay Ceravolo joined as rhythm guitarist in 1987 and remained until 1994, rejoining for stints from 1998 to 2003 and 2008 to 2011, helping shape the dual-guitar attack that defined Exhorder's early thrash-groove sound. He also filled in on bass during transitional periods (1989–1991) and contributed to the band's songwriting on debut material. Ceravolo's departure in the later reunions was attributed to new life priorities, including pursuits outside music like app development. Frankie Sparcello handled bass duties from 2010 to 2011 during the band's brief reactivation, bringing a steady low-end presence to live shows following the original lineup's breaks. His short tenure ended tragically with his death on March 22, 2011, at age 40, prompting the band to honor his memory through continued performances. Marzi Montazeri served as from 2017 to 2022, joining post-reformation and contributing to the 2019 album , where his technical style bridged the band's classic aggression with modern production. He left in February 2022, citing differing directions with the band's evolving path. Among other notable former members, played drums from 2010 to 2011, stepping in during a reunion and delivering high-energy performances, including solos that highlighted the band's enduring vitality.

Discography

Studio albums

Exhorder's debut studio , Slaughter in the Vatican, was released on October 23, 1990, through and features nine tracks characterized by aggressive thrash and riffs. The opens with "Death in Vain" and includes standout tracks like "H8," noted for its raw, high-energy delivery that blends intensity with influences, earning praise for its groundbreaking heaviness and relentless pace. Critics highlighted the record's monumental guitar work and top-notch production by Scott Burns, which captured the band's visceral live energy, positioning it as a seminal release in the genre. The band's sophomore effort, The Law, arrived on March 15, 1992, also via , comprising ten tracks with a more dynamic and contrasting structure compared to their debut. Produced by the band alongside Rob Beaton, the album adopts a darker, more oppressive tone, exemplified in tracks like the title song "The Law" and "Buried Alive," which incorporate heavier breakdowns and moodier atmospheres while maintaining thrash roots. Reception noted its musical depth and risk-taking elements, though some felt the production fell short of the debut's punch, still commending its solid songwriting and evolution in aggression. After a lengthy , Exhorder returned with their third studio album, , released on September 20, 2019, by Records, containing ten tracks that marked a powerful comeback. The "My Time" sets an intense, riff-driven tone, blending classic Exhorder grooves with modern polish, while highlights like "Asunder" and "Hallowed Sound" showcase varied tempos and melodic hooks. Reviews lauded the album's slick production and retention of the band's signature sound, describing it as a damn fine return that mixes thrash energy with 21st-century nuances, fulfilling long-time fans' expectations. Exhorder's fourth studio album, Defectum Omnium, was issued on March 8, 2024, through Nuclear Blast Records, featuring twelve tracks that emphasize renewed aggression and diversity. The single "Year of the Goat" stands out for its thrash-speed riffs, black metal-tinged intro, and memorable hooks, highlighting the album's blend of brutality and melody. With modern production that amplifies the band's core, tracks like "Wrath of Prophecies" and "Shotgun Logic" deliver violent, loud energy akin to contemporaries like . Critics acclaimed it as a top-notch effort, praising its extensive musical journey, equal balance of aggression and melody, and status as a strong follow-up that evolves Exhorder's legacy.

Live albums

Exhorder's sole official live recording appears on the 1994 Live Death: Recorded Live at the Metalfest, released by . The compiles performances from Suffocation, , Exhorder, and Cancer, with Exhorder contributing three tracks captured during one of their final shows at the Metalfest in 1994. These selections—"The Law" from their 1992 album of the same name, and "(Cadence of) The Dirge" and "Desecrator" from their 1990 debut Slaughter in the Vatican—emphasize fan favorites that showcase the band's aggressive groove metal sound and onstage intensity. Issued shortly after the band's initial disbandment in 1994, the recording preserves the raw energy of Exhorder's late-era performances, functioning as a farewell snapshot of their touring era amid limited distribution on the split format.

Compilations

In 2003, Roadrunner Records released Slaughter in the Vatican / The Law, a compilation that remasters and combines the band's first two studio albums on a double-CD set. Issued on September 16, 2003, it includes all tracks from Slaughter in the Vatican (1990) and The Law (1992), providing a comprehensive overview of Exhorder's early Roadrunner era with improved audio quality for renewed accessibility.

Demos and EPs

Exhorder's early career was marked by two self-released demo cassettes that captured their raw, aggressive sound and played a crucial role in building their underground reputation. These recordings, produced on a shoestring , were primarily distributed through local channels in New Orleans and the burgeoning tape-trading networks of the mid-1980s metal scene, helping to disseminate their music beyond . The band's debut demo, Get Rude, was recorded in September 1986 at Stonee's studio in , and released shortly thereafter as a single-sided cassette. This four-track effort showcased a pure thrash style influenced by pioneers, with high-octane riffs and relentless pacing on songs such as "Wake the Dead," "Ripping Flesh," "," and "Legions of Death." Self-produced and featuring photocopied covers, it was handed out at local shows and traded among fans, including early circulation in by future frontman , which amplified its reach in the Southern metal underground. The demo's gritty production and aggressive energy laid the groundwork for Exhorder's evolving sound, emphasizing tight grooves that would later define their contributions to . Following Get Rude, Exhorder recorded their second demo, , in 1987 at Ultrasonic Studios in New Orleans, with mixing and mastering at South Lake Studios. Released as a cassette with generic tapes and photocopied artwork, it contained at least seven tracks—many of which were reworked for their 1990 debut album—including "," "Desecrator," "Death in Vain," "Exhorder," and "Legions of ." Unlike the debut demo's speed-focused thrash, this recording introduced heavier, downtuned riffs and a more punishing rhythmic drive, signaling the band's shift toward what would become characteristics. The demo's quality and intensity were pivotal in attracting label attention, ultimately securing a contract with after submissions and tape trades reached industry ears. Its circulation in the tape-trading scene further solidified Exhorder's influence on emerging Southern metal acts, fostering a network that exchanged their material alongside bands like . Exhorder never released an official EP during their initial run, though bootleg recordings and unreleased session material from the early —such as outtakes from The Law album sessions—circulated informally among fans via tape trades and later digital shares. These fragments, often low-fidelity captures of live rehearsals or studio experiments, provided glimpses into the band's creative process during their era but remained unofficial and sporadically documented. The demos' emphasis on heavy, riff-centric aggression not only propelled Exhorder's trajectory but also contributed to the development of by prioritizing mid-tempo brutality over pure speed, influencing the genre's spread through underground exchanges.

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