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A Band Unheard Of... - 91%

gamaza, June 18th, 2011

The Goliath is the first full-length Cd from the band recorded at Watchman Studios, where other tech-metal band have had thier albums done, the guitar work is a mix between amazing and chaos and is blended well when you hear instrumental songs slowed down and have an atmospheric dry jazz sound that shows you thier song writing skills and that the guitar arent all non-stop technical riffs that would make even "Psyopus" blush, The bad thing is on some songs you can barely hear some guitar parts and thier bass somethimes drowns out the drums, the guitar sounds is like a chalk board is being scratched with overdriven distortion with very little layering done at the studio help the guitars sound cleaner and stand out more, and speaking of drums the drums are alot of the time almost background noise that is hard to make out wit the base kick a faint thump.

The Lyrics to songs are written as more hidden meaning than strait forward like most bands today and derived from conspiracy theorists like Michael Tsarion and his stories of atlantis and Mesopotamia with the lyrics are also long stories almost to the point of too big for a song it makes you wonder how the singer remembers all of it, the vocals are standard death metal growls that give the band a simple aspect aside from the guitars, The drums themselves are technical and the drummer abilities are up to par with the guitars rounding out the band.

In response to that the band is in thier early stages so the recordings arent going to be the greatest and the band seem to know where the want to go with thier sound, the unique style have their only going to progress from here and have that professional sound like technical metal bands like "Into the Moat" on their album "The Design" and "Between the Buried and Me". on "Alaska" had on thier early work as tech metal bands that made them stand out from the rest, With thier Complex song writing and raw musical talent the band is in high expectations with thier next album, and with they take the time to make the album sound perfect they will blow up and we'll see them on a bigger tour soon enough with thier fan base growing as well as thier talent and skill, Orgone will have a long Career ahead of them, Even ith the less than average Studio Mastering and Layering, Overdriven Distortion the Albums is nothing short of Amazing with Complex Guitar work and Technical Drumming and Lyrics Story long then albums is thier best work by far.

The bible lied, David loses, The Goliath wins - 89%

Jant_Shira, February 19th, 2010

Technical death metal is an insidious style of music to play, as finding the delicate balance between technical excellence and songwriting nirvana is a feat few achieve. You have only to look (with pity) at the likes of Braindrill to realise the margin for error is miniscule, and when it goes bad, it turns into an audio nightmare to rival deathcore.

Bands who succeed then, especially with the aplomb and panache Orgone have done, should therefore be cherished. Indeed, “The Goliath” is a record to be adored.

Fueling this behemoth is Steve Jarrett, an axeman with a unique approach. On first impressions, he seems for all the world a man intent on masturbating his guitar to within an inch of its life: noodling along with nowhere to go. Listen closely though, and you’ll discover a pattern: an unfurling array of melodic rifforama, constantly moving forward, but always with a direction in mind. Perhaps of more import is the evolution he allows his songs to undergo, sprawling into mammoth post metal art: lush melodies that clash and intertwine with the expected weight of the riffs, a dynamic that brings something fresh and distinctive to what is fast becoming a stale scene. Isis would be proud. Typifying this best is album closer, “Vomited Hyacinths (First Act of Beauty)”, an eight minute masterpiece, starting with a shimmering intro, moving into a maze of razor sharp licks and climaxing into dense, epic harmony.

Backing this genius up is Justin Wharton, a meat and potatoes drummer, but this works to the bands advantage, leaving Jarrett to take centre stage. However, I can’t help but wish that they had a superior bass player. Andrew Ransom never makes his presence felt, detracting from the experience, especially when someone like Dominic Lapointe could have woven his considerable talents around the music with grace and elevated the album to even dizzier heights. As vocals go, Christian Senrud is pleasing, though nothing to write home about, performing an adequate job of mixing death grunts with Aaron Turner-esque growling.

Taken as a whole, the band gel into a mechanism that runs smooth as silk, creating something inimitable and praise worthy, blending everything that is distinguished about technical death metal with post metal/sludge, evoking atmosphere and emotion in a sub-genre known for its clinical detachment. If you’re willing to spend some time with “The Goliath” you will be handsomely rewarded.

They hide in the buffalo bluffs of Pittsburgh... - 90%

Zmaj, December 22nd, 2007

After hearing some tracks on their myspace, Orgone's 'The Goliath' was the most anticipated album of 2007 for me, and let me tell you, it didn't disappoint. Some things that I found especially interesting were the lyrics and the band members' stances on politics and society, which is something you don't usually find bands being so open about (or interested in) in metal. However, I won't let that part influence this review (too much) and I'll try to keep it as objective as possible (though I will say a little about the lyrics).

I'll start off with the first thing that struck me when I got the CD, and that was the album art which was done by David D'Andrea who is most famous for collaborating with some well known sludge bands. The booklet contains abstract imagery which fits very well with the lyrics. The lyrics are of a spiritual nature and talk about a school teacher who undergoes a mental and physical transformation and basically becomes much more aware of his surroundings and the world (for more information visit the Orgone myspace). The whole story definitely 'does it' for me, especially when I read it along along to the music.

Ah, the music. Some words I'd use to describe it are: unique, technical, atmospheric, organic. Orgone blend tight technical musicianship with great atmosphere which, as a result, sounds kinda organic. I feel like everything flows perfectly.

The guitar and bass are mostly very technical and fast while the drumming is characterized by a healthy amount of aggressive double bass and fairly complex cymbal work. Some melody can be heard, but it's obviously not the main focus of the songwriting. The songs are all relatively long, ranging from the shortest track (Vowelic Drone) which lasts for 2 and a half minutes to the last track on the album (Vomited Hyacinths) running for more than 8 minutes. The structure of the whole album is progressive and there is not much repetition going on. Most of the songs are based on a gradual build-up, or should I say 'build-down', since they usually start with tech metal whirlwinds that slow down into crushing ambiental sludgy and more melodic parts. So rather than being 'all about the riffs', it's about the songs as a whole. And though the music may seem chaotic at first, that is definitely not the case. Orgone carefully weave their fine fabric into a complex tapestry of awesomeness that is 'The Goliath' . This is very technical music, but it's not generic or boring and the technicality isn't there to show-off the band members' playing skills. There's a lot more behind it. There's the atmosphere and the way the music flows. There's the distinct sound that I wouldn't mistake for any other band than Orgone. The overall complexity requires many listens for the album to sink in.
As for the vocals, this release features a different vocalist (for the most part) than the one on 'Accumulator'. While Steve Jarrett both sang and played guitar on the demo, Christian Senrud does most of the vocals on the full-length. His performance really surprised me because it's a whole different kind of guttural vocals unlike any growl I've heard before. I'm unsure on how to describe it except that it's not too low or too high but mid-range, quite raspy, yet coherent. Apart from Senrud, Steve Jarrett can also be heard near the end of 'The Levitating Chandelier' with his much more traditional sounding but very strong growl.
Adding to everything is the excellent production delivering a clean sound that lets no instrument stay unnoticed.

In the end if you asked me in what genre I would pigeonhole Orgone I'd probably still say technical death metal even though you can hear a very broad array of influences, from jazz to metal, and the overall sound is quite different from all the other bands in the genre. I really can't find a band to compare this to, except maybe Electro Quarterstaff, but that's only because of the way the music flows and I'm not sure if anyone would understand what I'm babbling about.

But anyway, I call this a masterpiece.

Very good - 89%

Noktorn, December 11th, 2007

If the 'Accumulator' demo was Orgone's equivalent of 'Altars Of Madness', then 'The Goliath' is the band's 'Blessed Are The Sick'. The LP isn't quite as brutal as the demo, but it's about twice as complex in both style and substance. That's a pretty fucking hard feat indeed; 'Accumulator' was an insanely complex (but never unmusical) blast of Beneath The Massacre style technical death grind that fused massive brutality and dramatic, neoclassical melody in a way that most people have only heard in Necrophagist, but was present in that demo in a form many times more extreme. Now it's taken to an entirely new level for a very strange reason: because those fast, ultra-technical portions are, percentagewise, not nearly as common as they were on the demo. But when they come in, damn are they vicious. The opening half minute of 'Lessons Of Mesopotamia (Century Of Filth)' contains more notes than Dream Theater have played in their entire career. And yet, like the demo, it never becomes too much, or a masturbatory exercise in note-accumulation (pun not intended). If there's one thing that Orgone is great at, it's in fusing extreme technicality with a great sense of how to EMPLOY that technicality best in the framework of a song.

The post-metal influence (Isis, Pelican, Neurosis, etc.) that we saw on 'Accumulator' is many times more present on this album. Big, melodic portions with jazzy chord shapes now take up large swaths of the music (the second half of the opening track, the same time section on 'The Levitating Chandelier') but actually mesh well with the tech portions. In fact, nearly every track on 'The Goliath' follows the same structure (apart from the obvious exception of 'Vowelic Drone', a spacey, gently psychedelic ambient track that is a welcome reprieve from the otherwise very demanding music): brutal, ultra-technical blasting opening section that slowly decays in technicality over the course of the song before blooming into an epic post-metal climax and an eventual fading, shuddering end. So in actuality, there's probably less brutal, tech material on this CD than there are huge walls of crashing sound in the Isis style. It's just that the viscerality of the tech portions has been amped up to the point where the discrepancy is completely unnoticeable. It's still extremely technical, brutal music, but it has more overall variation in tempo, mood, and rhythm this time around.

In general, the music is essentially what's found on 'Accumulator', though with the obvious inclusion of the above elements, and the other changes are mostly cosmetic. There are no breakdowns this time around. The production is clearer, louder, and more powerful, and was clearly mixed in a high-quality studio. Vocals are less growly and more shouty, with an added percusiveness that fits such precise music. I suppose as a whole the band resembles Beneath The Massacre less than before; now the style is more individual, with a hot, dry atmosphere like the band was playing in the desert. To some degree, it's the follow-up you'd expect from Orgone; a big step forward for the band themselves, if not QUITE blazing new musical trails. As far as this style of music goes, though, I can hardly fault it, as it's one of the best examples out there today. I'd say that it's an album that's most certainly worth your purchase.