Exodus suffers the recurring fate of 90s instrumentals trying to chase trends while remaining anchored to the bombast of eras classic percussive style. As a result these beats mostly feel contrived and stiff, trying to overlap modern aesthetics with old grooves and falling flat in the process. Paired with this, DMX sounds aged, his wild barks, growls and aggressive presence lacking a bite it once had. His lyrics feel lacking in growth or maturity, recycling his topics without renewed perspective. When he does rhyme in that direction, it is often awkward and uncomfortable, like his raps to his son. The meaning and intent is there but wordings are so un-poetic and plain, essentially the same turn offs from twenty three years ago.
On the flip side, does he get into a memorable flow or drop a catchy hook? This was one of DMX's big strengths and its completely lacking. The record is heavily bolstered with features that shift its identity all over the place. Snoop turns up, along with The LOX, Jay-Z and Nas, who unsurprisingly drops the albums best verses. Bringing on Alicia Keys, Bono and Usher for sung sections also feels out of turn with how things were once done. They seem like posthumous decisions by producers. The record ends with the tradition of prayers in direct contradiction with his lifestyle and choices. A tired theme to wrap up a weak record of mostly mediocrity.
Rating: 4/10