“Goliath” is Exodus’ twelfth album, featuring the return of vocalist Rob Dukes, who replaces Steve “Zetro” Souza, out once more from the band, after a run of gloriously great albums. Unfortunately, it’s a rather uneven affair, with Dukes, not the best vocalist the band ever had, but at least ever so brutal, seemingly going through the motions. Longer, more intricate compositions, the hallmark of Lee Altus’ writing, for the most part also don’t do the albums any favors in terms of immediacy and unfortunately don’t seem able to win over the listener. It’s the culmination of changes that really seems to be this album, “David”, so to speak.
The opening track “3111” is slower than usual openers, but at least chugs along nicely, reintroducing the band after all these changes. Acceptable.
Tom Hunting’s drumming shines on “Hostis Humani Generis” while both Gary Holt and Lee Altus also provide some awesome guitars on here.
“The Changing Me” (feat. Peter Tägtgren) is a mid -tempo track has some elements that one would expect of his guest and it’s not that bad, but its experimental nature doesn’t send it straight to bank either.
“Promise You This” is heavy and groovy, which can be considered either way. You’ll either love the groove and lock into it or consider it trivial. It’s a little too bare for my taste but doesn’t overstay its welcome by much.
“Goliath” (feat. violinist Katie Jacoby) seems like a deliberate departure for the band. It’s doomy, has some insanely tasteful leads, and could have been a massive song, despite being different, but there’s something amiss, and I am not sure if it’s Duke’s inability to sell the chorus, despite trying valiantly to do so, or the mere fact that the band is even attempting such a shift in focus in the middle of a BAU album. It’s almost great and epic but seems to suffer from a cardinal flaw.
“Beyond the Event Horizon” is more like it, with its pummeling, breakneck nature. Think “Shovel Headed Kill Machine” era stuff, and you’ve got a pretty good idea what this is all about.
“2 Minutes Hate” is anything but what its name suggests at five minutes. It tries to be a groovy, bluesier, thrasher… think of a slowed-down “waltz”. I liked it more than I should, although I suspect I might have liked it way more if they upped the tempo massively.
“Violence Works” tries to test a variety of different styles. It’s also pretty bouncy for a mid-tempo. It works. Barely.
“Summon of the God Unknown” is one of the better tunes on the album, it indulges in its mid-tempo brutality and brooding build and only falters a little when it tries to resolve, but its sheer scale pulls it through.
“The Dirtiest of the Dozen” serves as a tribute to the band’s history, and while less tongue-in-cheek than similar fare, might be the muddiest of the dozen, despite having enough oomph.
Overall, “Goliath” is not a bad album, but it does become a victim of changes – change of singer, too many prog ideas, production and arrangement choices that fall flat.
