Goliath is one of the most surprising tracks on the For Those That Wish To Exist. It's not different in a wild way, but the way it subverts expectations and delivers a unique and wonderful sound is great. Sitting on the borderline of heavy, beautifully peppered with the new era of Architects synths and electronics, this song packs a new punch.
I can't lie that the intro chug riff is one of the best and most fun riffs on this album. It brings so much energy to the table and you can tell it is a fun one to play on the guitar. Led in with one angry scream from Sam Carter, it almost feels as if the chugs were screaming alongside him.
The verses have a tasteful pacing to it, especially with the minor dropout moment. The contrast they painted with intense and softer sections throughout the track is quite subtle but very impactful, giving hits extra impact. The chorus is angel clean, yet the cynicism is echoing off the soundscape, which only adds to the sinister undertones.
I adore how much more they experimented with coupling cleans and heavy riffs in this one. I feel it works really well, especially for a band that is used to putting screams on chugs. It doesn't feel forced, and it absolutely fits the vibe they're trying to set both in the song and on the album.
There are many things to love about the breakdown. The way they built up into it was refreshing and felt very unique to the album, with some chant-esque cleans and slowly building with the chugs and drums. It almost feels evil, and the payoff is well worth it. I've never been so shocked by any scream as feral and raw as Simon Neil on this track, which only shocks me double as I was only used to his cleans on Biffy Clyro. It sounds anguished or wildly wrathful, whichever you feel is more appropriate, as if he really was screaming his lungs out. I also love that they go back to the intro chug riff, just to add so much sonic dissonance to the messy and primal rage of the scream.
The way they chose to transition out of the breakdown, as well as the ending of the song, both felt very right and very cinematic. I cannot imagine what could be more characteristically fitting than a soft and symphonic touch. It resolves the song so well musically, and it adds to the sinister undertone of the sentiment.
I do wish they used Simon Neil more, but that is a gripe most people have with all of the guest vocals on the album. Despite that, I'm more than glad they let him loose with this one, I doubt we would've ever gotten to hear this gold mine of a scream sound on Biffy Clyro. Overall, it is a track full of pent up energy and I love how they let it soak in rage yet paint some of the parts in graceful symphonies. I know some people hate for them to lose their heavy, but I simply cannot help but love them fully exploring their musicianship with these new sounds they're adding, these new soundscapes they're creating. They can use contrast even better now that they've increased their range on the softer side, and I think this is one of the tracks where it shows the best.
For an album that was one of my favourites of the year, being the track that was, for me, most memorable, is definitely a feat. There sure are a lot of great moments on the album and many well composed pieces, but this just feels the most apt for the album, both in theme and direction. In a way, this feels like the most rare outcome of a song for the band, and it feels the most intentional in terms of pushing their own boundaries. I'll always applaud good music, and I'll always applaud trying new things, so this gets double applause.
Rating: 4.5/5