Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

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.