Reviews

Album number 13 from Exodus, their first in 5 years, feels genuine and emotional. Goliath's biggest strength is variation - whilst most recent Exodus albums had a collection of songs at a similar tempo and style, the album opens itself up to some variations. It has some songs that reach back into earlier Exodus albums for inspiration, and some others that are a totally new direction for the band. It is more accessible than most of their recent output, and not due to the heaviness, but moreso due to a balanced production that does pit every instrument against the others in a battle of who can sound loudest. Production was handled by the band themselves, instead of the much over-used Andy 'wall of sound' Sneap. Make no mistake though, many of these tracks will still cause brain damage when listened to over long periods of time at high volume. It is also great to see that some of the songs were penned by second guitarist Lee Altus, instead of this being a 100% Gary Holt led album. It adds to the variation, and Altus has been involved with the band for long enough now to understand the Exodus DNA. Rob Dukes is back on vocals for the first time since 2014, and his voice hasn't changed much, although his vocals are a lot more restrained here - not using so much of the hardcore 'bark' he was known for, but instead attempting some variations to his vocals in a number of places. This also helps to expose the songs as individual entities that live in their own worlds, rather than blending into the album as a whole. '3111' is an odd opener, not for its subject matter (with 3,111 being the number of recorded Mexican drug cartel murders), but due to it not really having a chorus or hook. It builds slowly, and when it hits its stride it holds interest, but then trails off into a lengthy segue to the next song. It does work, but feels a little unfinished (or maybe 'unresolved' is a better word?). 'Hostis Humani Generis' feels like the first 'proper' song of the album, and with its crazy fast riffing it takes the prize for the most maniacal song on the album. The chorus has an old-school feel, but the rest of the track is a nod to the Shovel Headed Kill Machine era, with its reckless energy. 'The Changing Me' opens in a very un-Exodus way, and as the song unfurls it has a very euro-metal feel - even the chorus is very different to anything the band has done before and the breakdown prior to the solo almost sounds like In Flames or similar. Swedish death metal icon Peter Tagtgren adds a death metal growl to the chorus, which also revels something new in band's bag of tricks - a melody line behind the main riff that is very common with younger bands. Any old school fan will notice 'Promise You This' amongst the others within moments of it starting. The style is very much Exodus of the Fabulous Disaster era, with a great riff ratcheting away behind a chord line. Everything from the tempo to the style of solo drips a time in the past, and whether intentionally or not Holt has channeled a younger version of himself here. The solo in fact deserves a second mention, as it will raise many an air guitar from metal heads everywhere. The chorus is so catchy you will actually sing (growl?) along to it. Remember The Toxic Waltz? This is what it would sound like if written today. The title track is a lumbering monster, and Goliath is not only its name but also a great way to describe it. Moving at a doom metal pace, the chorus has a soaring guitar lead that sounds like Skwisgaar Skwigelf from Dethklok have been called in to assist. Buried in the mix (and probably too low) is violinist Katie Jacoby adding some flavour to the sound. 'Beyond The Event Horizon' is more of a typical modern sounding Exodus barnstormer, and is probably the track that would most easily fit onto any other recent Exodus album. Having said that though, it is still carried by a great lead riff that was often missing from other recent efforts. If any track on the album was to be called filler, it would be '2 Minutes Hate'. It isn't all forgettable though, with a solo that is excellent. 'Violence Works' is a slower grinder that starts off feeling a bit like a retread over older material, but although it never reaches close to some of the best songs on the album it does have some unexpected twists and turns. The chorus also allows Dukes a chance to sing in a higher register, and you realise that the vocal variations he makes throughout the album are as integral to its success as some of the changes Holt has made to his writing style. The album's longest song (and arguably unnecessarily so) is 'Summon Of The God Unknown', which is another slow chugger. It does somehow stay interesting though, moving through a number of riffs sooner rather than later. Just when the listener expects to be settling in for something predicable, it does keep you on your toes more than anticipated. About half way the song unexpectedly changes gears and almost turns into a different animal altogether, making this more like two songs than one. It has a massive closing chug that feels absolute at its resolve. Although it feels like a natural ending the album does have one more surprise in the wings. The riff-fest that is 'The Dirtiest Of The Dozen' closes, and this is an Exodus fan's wet dream. It is exactly the sort of track that has been missing from a lot of their recent work, giving not just endless riffing, but hooks that draw you in and have you hum along. The solos are sublime, and have a backing that has a groove that allows them to shine - so much so that we even get a bass solo from Jack Gibson. It's a great track to end the album with as it leaves you wanting more. At just under an hour, the album is just long enough that it doesn't outstay its welcome, and it has enough flavour that going back for another listen is actually quite enticing. The soloing is amazing and memorable, but that isn't surprising with the pedigree of the two men creating them. The best thing about the album is that it feels like a band that is 'now' - A band that is living in this very moment. The last couple of album felt like the band was trying to be something for its audience. This album feels like they are just making music because they enjoy doing it, and that is always where the best albums come from.

A classic example of a true Alt/Rock band living in the 90's, The Living End smacked everyone in the face with the first track off their debut album in 1998 titled 'Prisoner Of Society'. It was all over Rage and Triple J for a long time. Clearly offering a punch for fans of I dunno what to call it, modern Punk with a Rock edge to it. Following that the album produced many classic songs that set the benchmark for this band. Where to next? Well you needn't look too much further down the track. Roll On continues that classic rock anthem music we all love. And bear in mind now we are in the 2000's and these guys continue to push against the trend with their classic sound. No better example than the first track and title track 'Roll On'. It's your typical 'cockney' like call to arms. Puts a spring in your step and in a way gives you that reason to fight on. From there you have the second track 'Pictures In The Mirror' which got a lot of radio play also. It does seem to lean further into a typical rock sound structure, and you will see continues for most of the remainder of the album. You can certainly notice the maturity of the band, while still showing rebellious taint, they seem to be more directed in what they want their music to present to the listener. 14 tracks and 14 minutes is what you'd typically expect from a punk/rock band. While I don't listen to it all that often, when I do I love the reminiscing. I would say that the only criticism I have is the album goes hard at the beginning with some brilliant songs, but fades away in the second half for me. I kinda feel like I'm waiting for a pump up of some great tracks around track 7 or 8, but it never comes for me. I think that is the difference from it being a great album to being an OK one.