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"Goliathon: Pretend It's Not Happening (Review)"

Goliathon: Pretend It's Not Happening (Review)

Artist: Goliathon
Album: Pretend It's Not Happening
Medium: CD
Stil: Classic Rock
Label: Eigenvertrieb
Spieldauer: 37:00
Erschienen: 10.08.2012
Website: [Link]

Drei Gitarren, Orgel, Sax und Schneid – so lautet das Motto dieses Quintetts aus Indianapolis, das nach der EP „Without Further Ado“ nun einen ersten Longplayer vorlegt.

In „Jettison“ melodiert erstmals das Saxofon mit, was dem Sound der Band einen exzentrischen aber nicht disharmonischen Anstrich gibt, weil sich Probasco seine Urschreie aus dem Bleizeppelin für Gesangsmikrofon aufspart. Das Klavierstück „Deep Breath“ fungiert als Einleitung zum sakral orgelnden „Make Tracks“, das erst zum Ende hin mit Gesang und Honky-Tonk-Klimpern aufwartet. Ähnlich lyrisch fällt „Riot In Cairo“, das man als Interessent zum Anspieltipp aussuchen darf.

Beats, die zum Tanzen einladen und in Ermanglung vordergründiger Härte fälschlicherweise „Indie“ genannt werden könnten, verhindern ausdrücklich, dass GOLIATHON ihrem schweren Namen zum Trotz Heavy-Gefilden zugeordnet werden könnten, Der zwar bissige, aber auch quengelige Gesangsvortrag, aber allen voran der Stampfer „Sing“ erinnern mit Nachhalt daran, und hört man das galoppierende „Frozen White Wasteland“, wird wieder einmal ersichtlich, wie oft sich allzu verzerrte Gitarren gegen die Urheber klassischer Metal-Tracks ausspielen. Stichwort Dynamik-Overkill.

Diese Songs hingegen mäandern mit klasse luftigem Klang, statt simple Strukturen in undurchlässige Lederhosen zu zwängen, selbst der kräftige Opener „Diogenes“, das forsche „Howl“ mit seiner zurückhaltenden Bridge und das kurze, sich wiegende „One Way In, One Way Out“, das psychedelisch gniedelnde Instrumental „Kebab“ sowieso. Hier hört man besonders gut, welch fantastische Musiker am Werk sind.

FAZIT: Verzahnt funky, irgendwie alternativ und dennoch auf dem Schoße etablierter Helden sitzend kochen GOLIATHON ihr eigenes Süppchen, das man Classic Rock nennen darf, wobei sich allerdings gleichermaßen Page und Rodriguez-López als Geistesväter aufdrängen.

Andreas Schiffmann - MusicReviews.de


"Goliathon - Pretend it's Not Happening (2012)"

MONDAY, OCTOBER 29, 2012

Goliathon - Pretend it's Not Happening (2012)

Since the release of their second record, Pretend it's Not Happening, Goliathon has strode across Indianapolis' local scene like a stallion loose from his confines, most bands from the city missing the power, oomph, and savviness to poise themselves for any sort of success. The album feels almost as a relic of the '70s, progressive rock and occasional proto-metallic riffing dominating the majority of the track roster, but the addition of a saxophone keeps listeners on their toes and Goliathon unique relative to their peers. Much like the debut, fluid melodies weave in and out between one another, the band's adaptation of the Hammond organ a throwback back to times when music felt pure and undiluted by today's sterile modernity. Really, only one conclusion can be drawn from this mess of eclecticism: Goliathon means serious business as they intend to remedy Indianapolis' lack of a standout rock group.

Growth ever evident, the band's prior album, Without Further Ado, enjoyed many of the same traits but appeared half-baked without the comparatively glossy production and improved song writing. By no means was the debut bad; Pretend it's Not Happening merely takes compositional prowess up a few notches, pushing memorability to the forefront and the five-piece outside of their comfort zone. For Indy's premier rock band, thinking outside of the box has afforded them opportunities previously unknown, a jam-packed CD release show, for example, and an enthusiastic fan base emerging from the city for their new music.

Showcasing the band's newfound progressiveness, the album opens up with a dancier cut, "Daigenese," slipping into a Middle Eastern-inspired groove between verses and introduces the Hammond organ which looms in the background for much of the record. "Jettison" is likely one of the more intriguing songs among the mix, the opening melody odd by anyone's standards, but, nevertheless, giving way to fantastic guitar and saxophone work in the midsection. "Deep Breath" and "Make Tracks" chain together as one piece and brandish what is arguably the traditional Goliathon sound, the following two, "Howl" and "Kebab," doing much the same thing but in a bumpier manner. Unsurprisingly, interconnectivity continues to remain the biggest reminder of how far the act has progressed with their song writing.

The second section of the record begins with "Frozen White Wasteland" and reaches a hand into rock's riff palette, the distortion crunchy as it works in harmony with organ accents to create a genuine sense of fantasy. "One Way in, One Way Out" threatens to tear down the wall limiting local music, guitar and piano melodies echoing after one another in what is perhaps the tightest rock song of the year. The last two tracks, "Riot in Cairo" and "Sing," illustrate varied influences and catchiness respectively, the latter suitable for air play on any classic rock radio station and, by anyone's best guess, a future hit. By the record's conclusion, a real sense of hard work and blood, sweat and tears is apparent, Goliathon's dedication to their craft a testament to the countless times the album blows the previous out of the water.

Based on nothing but stellar song writing Pretend it's Not Happening is a contender, if not the best, rock album of 2012. Neighborhood music snobs can now rejoice; no longer is Indianapolis deprived of an upcoming star or a musical hometown hero. Beyond a shadow of a doubt Goliathon still has work ahead, but if they continue at this pace, super stardom is not too far out of reach.

-TMA - The Metal Advisor


"INTERVIEW: GOLIATHON"

by Mac Sabbath

I can’t exactly remember how I was able to stumble upon the mighty GOLIATHON now that I sit here and think about it. But what I can remember is that, when I did, I discovered something that was badder than shite. And after exploring the band a bit further, it didn’t take me too long to realize that I had to get these boys on the horn.

GOLIATHON is a killer prog/rock alt-blues/metal band from Indianapolis, IN. The band is comprised of Chris Probasco (Vocals/Guitar/Saxophone/Harmonica), Colby Holmes (Bass/Organ/Backing Vocals), Christian Wren (Guitar), Derek Kendall (Guitar), and Matthew Allan Fields (Drums).

What do they sound like? Read on. You’ll figure it out. These guys are cool as hell. Hilariously funny, wickedly talented, and just a death’s breath of fresh Midwest air. You’ll definitely want to have these guys on your radar in 2012 and beyond.

ROCKTHOUGHT.COM INTERVIEW: GOLIATHON

RT: What’s behind the band name?

Matt: We really just wanted the name to sound like a big, colossal name. So when people hear our sound…they say “Oh, that’s why they’re GOLIATHON!” We really just wanted a name that represented the style of music that we play. And we thought GOLIATHON sort of does that.

RT: I have to admit – one of the first things I noticed on your RN page, was that you had shared the stage with THE SWORD.

Colby: Yeah, we opened for them at The Vogue when they were in town, once. It was killer. Somehow we got contacted by someone from the Vogue. We got the email, and we were like “hell yeah!” I’m not entirely sure, but whoever was doing the booking contacted our manager, Sherry, and asked if we wanted to open. Of course, it was a no brainer.

RT: What’s up with the Battle of the Birdy’s?

Colby: It’s pretty much a local Indiana-based “Battle of the Bands.” Anyone up here who’s anybody worth talking about, basically, gets invited to the Birdy’s.

Chris: It’s basically three rounds of competition. It’s about as respected as a ‘Battle’ could be. We did it last year, and the money was pretty good. So we decided to do it again – not really because we cared about “winning” a music battle, or “competing” with bands, but it’s always a good crowd. It’s always a lot of fun. It’s not really about the money, but it is kind of about the money. There’s some nice prize money to be made there if you come out on top. Local alternative news magazines end up doing a lot of good press on the bands and such, and it just ends up being a lot of fun for everyone involved. It’s not really a huge deal per se, but it is kind of a big deal – at least as far as local shows and bands are concerned.

RT: So, you’re into the final rounds I assume?

Chris: Final round is November 12th and we’ll be tearing it up with a handful of other cool local bands!

Colby: Yeah, last year we got 2nd place. There’s a great mix of bands, a great mix of fans, and judges. The votes are tabulated from a mix of folks, so it’s always nice to get recognized. It’s always a packed house and a great time. At the very least, it’s great exposure.



Negligent Senescence Pt. 2 from Goliathon on Vimeo.

RT: You’re obviously doing the Facebook, Twitter (and ReverbNation) thing. How is the whole social media/web working for you?

Colby: Well, Facebook has been a pretty helpful and easy way to interact with our fans so far. It seems to be working pretty well so far.

Chris: It’s not too bad. I mean the exposure we get from ReverbNation is pretty nice, and when you have Facebook linked in with that, it’s pretty cool.

Colby: Yeah, ReverbNation is cool, but it’s been sort of troubling a bit, too. Because we try to use it as a source to connect with other local bands, too. But it’s become a little bit frustrating because now they don’t let you contact people unless you’re fans of each others’ pages. And they have to “fan” you back before you can message and communicate which can sometimes get frustrating from a timing standpoint. Generally, I feel like Facebook is the best way to promote and engage with our fans, because everyone is already on there. But we also try to first direct people to our official website, because it’s unique and branded in our likeness, and we have all of our vids and media on there.



Photo: ReverbNation (Courtney Brooks Photography)

Derek: As far as social media goes, Facebook is pretty much where it’s at for us right now. I mean, especially today…you really don’t have to be any good to set up a ReverbNation account. And you don’t really have to be very serious. So it’s hard to have to spend the time to kind of weed out what you’re trying to find, and who you’re trying to connect with. At least in my experience…I could spend 12 hours on ReverbNation and maybe find 10-12 bands or people to connect with. So it kind of gets to be like trying to find a needle in a stack of needles. But there are also a lot of cool widgets and apps and maps that we can use on our website and stuff, t - RockThought.com


"REVIEW – PRETEND IT’S NOT HAPPENING BY GOLIATHON"

by Bill Goodman

In 2010 I was introduced to a small band from Indianapolis, Indiana that changed my world. First off I was blown away a set of demos on their Myspace page. Then, as time went on, they finally released a full length titled Without Further Ado. This band also caused me to check out more progressive rock. That band is Goliathon.

Goliathon is a stoner rock band through and through but if you listen closely, there’s so much more. While the standard stoner rock fare is there, the band expands on the “standard” sound by adding an organ, a harmonica, and a saxophone to boot. Their sound travels well into the progressive genre as well as mixing it up with good old classic rock. They literally take some of the best of King Crimson, Rush, Jethro Tull, and Led Zeppelin and put that into one huge ball of energy. The result is something that needs to be heard as it’s hard to describe in words without going beyond WOW!

That said, Pretend It’s Not Happening is a pretty special album. It is a music lovers album. Vocalist Chris Probasco’s voice really belts it out. His ability to belt out the high notes and hold them is beyond amazing within itself. It reminds me of a much younger Steven Tyler (Aerosmith) or even Jay Buchanan (Rival Sons). Of course I have to give credit to the rest of the band, their playing isn’t anything short breathtaking itself. The album kicks off with a little opening tune that may be familiar to those who have played some of the older Legend of Zelda games. From there it’s non stop rocking. The tracks seem to flow seamlessly from one to another, as if it were one big 37 minute song. Each song range is different with the tones and tempos varying but one thing that is consistent is the energy displayed. Each song is bursting at the seams with energy. The only slow moment is a 40 second instrumental called “Deep Breath” which more or less serves as an intro to “Make Tracks.” It’s really hard to pick a favorite song on this album, I love them all. The production is so crisp and clear too. The mixing and mastering is perfect. The sound is excellent. Pretend It’s Not Happening is one of those albums you turn up the volume to.

Pretend It’s Not Happening is due out August 31st, 2012 on CD, vinyl and digital. Mark your calendars, the band is playing a FREE CD release show to celebrate. If you’re near Indianapolis, make sure you stop by. I hear they’re pretty killer live. You can hear 2 tracks from the album now “Jettison” and “Howl” below. Make sure Pretend It’s Not Happening is in your collection come the end of August. - The Soda Shop


"REVIEW – PRETEND IT’S NOT HAPPENING BY GOLIATHON"

by Bill Goodman

In 2010 I was introduced to a small band from Indianapolis, Indiana that changed my world. First off I was blown away a set of demos on their Myspace page. Then, as time went on, they finally released a full length titled Without Further Ado. This band also caused me to check out more progressive rock. That band is Goliathon.

Goliathon is a stoner rock band through and through but if you listen closely, there’s so much more. While the standard stoner rock fare is there, the band expands on the “standard” sound by adding an organ, a harmonica, and a saxophone to boot. Their sound travels well into the progressive genre as well as mixing it up with good old classic rock. They literally take some of the best of King Crimson, Rush, Jethro Tull, and Led Zeppelin and put that into one huge ball of energy. The result is something that needs to be heard as it’s hard to describe in words without going beyond WOW!

That said, Pretend It’s Not Happening is a pretty special album. It is a music lovers album. Vocalist Chris Probasco’s voice really belts it out. His ability to belt out the high notes and hold them is beyond amazing within itself. It reminds me of a much younger Steven Tyler (Aerosmith) or even Jay Buchanan (Rival Sons). Of course I have to give credit to the rest of the band, their playing isn’t anything short breathtaking itself. The album kicks off with a little opening tune that may be familiar to those who have played some of the older Legend of Zelda games. From there it’s non stop rocking. The tracks seem to flow seamlessly from one to another, as if it were one big 37 minute song. Each song range is different with the tones and tempos varying but one thing that is consistent is the energy displayed. Each song is bursting at the seams with energy. The only slow moment is a 40 second instrumental called “Deep Breath” which more or less serves as an intro to “Make Tracks.” It’s really hard to pick a favorite song on this album, I love them all. The production is so crisp and clear too. The mixing and mastering is perfect. The sound is excellent. Pretend It’s Not Happening is one of those albums you turn up the volume to.

Pretend It’s Not Happening is due out August 31st, 2012 on CD, vinyl and digital. Mark your calendars, the band is playing a FREE CD release show to celebrate. If you’re near Indianapolis, make sure you stop by. I hear they’re pretty killer live. You can hear 2 tracks from the album now “Jettison” and “Howl” below. Make sure Pretend It’s Not Happening is in your collection come the end of August. - The Soda Shop


"REVIEW – GOLIATHON – WITHOUT FURTHER ADO"

by Bill Goodman

These guys were the very first New Band To Burn One to that I wrote about. They are Indianapolis’ own Goliathon. Their debut album, Without further Ado is one strong album. Actually that’s a bit of an understatement. It’s pretty fucking good, stoned, drunk or sober. The sound is stoner and classic rock with jazz and blues elements. The album flows nicely from the first track to the last. There’s no big gaps, just one continuous flow. Singer Chris Probasco has a voice similar to a harder rocking Chris Robinson.

The album opens with “Juqus Harpus’ which is a cool classic rock number with a few guitar solos and instrumentals. It rolls right into the next song, “Justice is Blind.” “Panhandled” is next which starts off a bit slow and then picks up some steam. It’s a bit doomier than the previous but without the doom. There’s some fine guitar soloing as well. “Self Reflection” is a bit mellower and this is where the jazz comes in. Chris Probasco plays saxophone as well and is implemented throughout the song. The last song is an epic 17 minute masterpiece broken down into 5 different sections. The song is “Negligent Senescence.” It starts off bluesy in a Clutch like way, that’s the Overture. Chris comes in with his harping vocals then it’s on. The sax comes in again for a bit. At about the 10 minute mark it slows down to where you think it’s almost over. Then the organ creeps in and you’re in for some more awesome guitar work. The 14 minute mark it picks up fast again.

After hearing the band’s demo on their Myspace earlier in the year (which are sorely missed by mu-ah), I knew these guys were capable of putting out something great. This is a great, no, a fan-fucking-tastic debut album. It’s epic, hard, heavy and kicks ass. Throughout the album I couldn’t help but think I heard some influences such as Led Zeppelin, Robin Trower, Lynyrd Skynyrd, Clutch and even The Black Crowes. Copy cats though, these guys are not. This is 100% original rock. They’re not a clone of band A or band B. If you’re looking for something fresh , Goliathon is the band you MUST check out! - The Soda Shop


"REVIEW – GOLIATHON – WITHOUT FURTHER ADO"

by Bill Goodman

These guys were the very first New Band To Burn One to that I wrote about. They are Indianapolis’ own Goliathon. Their debut album, Without further Ado is one strong album. Actually that’s a bit of an understatement. It’s pretty fucking good, stoned, drunk or sober. The sound is stoner and classic rock with jazz and blues elements. The album flows nicely from the first track to the last. There’s no big gaps, just one continuous flow. Singer Chris Probasco has a voice similar to a harder rocking Chris Robinson.

The album opens with “Juqus Harpus’ which is a cool classic rock number with a few guitar solos and instrumentals. It rolls right into the next song, “Justice is Blind.” “Panhandled” is next which starts off a bit slow and then picks up some steam. It’s a bit doomier than the previous but without the doom. There’s some fine guitar soloing as well. “Self Reflection” is a bit mellower and this is where the jazz comes in. Chris Probasco plays saxophone as well and is implemented throughout the song. The last song is an epic 17 minute masterpiece broken down into 5 different sections. The song is “Negligent Senescence.” It starts off bluesy in a Clutch like way, that’s the Overture. Chris comes in with his harping vocals then it’s on. The sax comes in again for a bit. At about the 10 minute mark it slows down to where you think it’s almost over. Then the organ creeps in and you’re in for some more awesome guitar work. The 14 minute mark it picks up fast again.

After hearing the band’s demo on their Myspace earlier in the year (which are sorely missed by mu-ah), I knew these guys were capable of putting out something great. This is a great, no, a fan-fucking-tastic debut album. It’s epic, hard, heavy and kicks ass. Throughout the album I couldn’t help but think I heard some influences such as Led Zeppelin, Robin Trower, Lynyrd Skynyrd, Clutch and even The Black Crowes. Copy cats though, these guys are not. This is 100% original rock. They’re not a clone of band A or band B. If you’re looking for something fresh , Goliathon is the band you MUST check out! - The Soda Shop


"Goliathon - Without Further Ado (2010) [Self-Released?]"

by Inarguable Magazine

I . . . this is like they listen to classic rock radio all the time, but really like Porcupine Tree and some stoner rock. I'm sure that's not as weird or unusual as I think it is, but my god if they haven't hacked out their own niche (possibly by beating one into existence with a saxophone). In literally every song, I'm reminded of mainstream-groupie-70's and 80's hard rock (Guns 'n' Roses, Led Zeppelin, Sabbath), the rattle and atmosphere of The Jesus Lizard noise rock, and the heavy-rock-prog-modern off-kilter riffing of Porcupine Tree. And Mastodon/High on Fire.

I know I don't normally namedrop like this, but it really sounds like all of those things at once. I've always hated the self-assured, soulless hard rock sneer that their singer wails, but with all of the music Goliathon brings together and with the intricacy of their songs (no "Riff A 4x, I IV V" here), I kind of have to keep listening. I have to. Because if I stop, I'll miss something insane they did.

What. - The Inarguable


"Goliathon – Without Further Ado"

by Nikola Savic

Holy crap, man! I mean it. I have no idea how did I come into this band when, this morning, I was clicking randomly on YouTube videos. Guess that their name sounded promising, thus I decided to check them out and give it a try. And, since then I am dazzling myself with listening to this four tracks on their Bandcamp profile. The full-length album called Without Further Ado is comprised of five tracks in total.
The Indianapolis native quintet nails some heavy combination of stoner / classic rock with bunch of progressive rock elements flirting with jazz here and there. As you can hear in a player below (and I am sure you will agree), these guys are a real blast. Without Further Ado was released in 2010, what makes me think to go and redo my “Top 10 albums of 2010? list. At the end I would only add that the band is currently working on some new material, what’s proved excellently by the video for a song called Riot in Cairo (check below).
And now, without further ado go and check Without Further Ado. - Prog Sphere


"Goliathon – Without Further Ado"

by Nikola Savic

Holy crap, man! I mean it. I have no idea how did I come into this band when, this morning, I was clicking randomly on YouTube videos. Guess that their name sounded promising, thus I decided to check them out and give it a try. And, since then I am dazzling myself with listening to this four tracks on their Bandcamp profile. The full-length album called Without Further Ado is comprised of five tracks in total.
The Indianapolis native quintet nails some heavy combination of stoner / classic rock with bunch of progressive rock elements flirting with jazz here and there. As you can hear in a player below (and I am sure you will agree), these guys are a real blast. Without Further Ado was released in 2010, what makes me think to go and redo my “Top 10 albums of 2010? list. At the end I would only add that the band is currently working on some new material, what’s proved excellently by the video for a song called Riot in Cairo (check below).
And now, without further ado go and check Without Further Ado. - Prog Sphere


"Concert Review: Harley Poe + Leopold and his Fiction + Goliathon @ Radio Radio, Indianapolis, Indiana - August 31, 2012"

by The Metal Advisor

…Goliathon was up next and Radio Radio overflowed with fans of all ages. Clearly, the act was something special to the Indy scene, and we damn well hoped they would be since we made the hour drive. As the crowd pushed closer to the front, the hype for Goliathon continued to accrue as fog erupted from the stage, backed by a curious choice of a SNES Super Mario track. Although the band burst onto stage a few moments later and opened with an eerie brew of dual guitar harmonies, what most excited us was the Korg synth placed at the head of the stage and a beautifully golden-shone saxophone, which added another dimension to the band’s music.

Five members deep, Goliathon brought the goods and partied with an eclectic take on a dying breed of rock. While still familiarizing myself with the band’s discography, the show was primarily based around the release of their album, Pretend it’s Not Happening–a great choice because the record is upbeat and paramount of Indianapolis’ rock scene. What surprised me most was Goliathon’s ability to keep their composure among a drunken, energized crowd. For what the band lacked in stage presence, they made up for with excellent musicianship. But unlike Leopold and his Fiction, who had relative freedom with three members, a small stage was not suited to a larger band like Goliathon. Moving around was tough.

On every level, the night was a success. We discovered a bitchin’ new band, Goliathon lived up to musical expectations, and Harley Poe provided a laugh or two. Small acts best take note on where to play next because Radio Radio is certainly one of the hotpots to grab a beer or two, relax, and enjoy a few tunes. When Leopold and his Fiction come through town again, you can bet I’ll be there. That’s how much they blew me away. Goliathon better be watching out for me, too. - The Metal Advisor


"Review: Goliathon, 'Pretend It's Not Happening'"

by Wade Coggeshall

Goliathon
Pretend It's Not Happening
Self-released

Goliathon said no ideas were off the table when writing their second album, Pretend It's Not Happening. Judging by the results, they weren't kidding.

The south-side quintet's sophomore effort is an album that actually flows like one, not just a collection of hoped-for singles. Given all the shifting dynamics - often in the same song - if there's one part you don't like it'll likely change in short order. That can make Pretend It's Not Happening feel like a meandering opus depending on your attention span, even though it clocks in at a taut 37 minutes.

Opener "Diogenes," destined to be a live staple, is a fine example. Every instrument creeps along initially, even incorporating some midnight movie-sounding keyboards, until it turns into a shuffle that aptly backs Chris Probasco's Robert Plant-level wail. That morphs into a bluesy dirge, then a proggy labyrinth before returning to that shuffle and ending with the group (drummer Matthew Fields, guitarists Derek Kendall and Christian Wren, and bassist Colby Holmes) howling in unison.

So it goes with much of Pretend's 10 compositions. "Jettison" and "Make Tracks" are cinematic in scope, merging everything from action scene tempos and astral trances to Southern-fried stomp and sax sweat courtesy of Probasco. The instrumental "Kebab" deviates from carnivalesque keys to spiraling jams, fathomless depths and a Mars Volta-ian freakout. "Deep Breath" is merely 40 seconds of gelid, solitary piano that comes off like a Floydian reverie. "Frozen White Wasteland" is about the most conventional song here, but still speeds up and slows down with near vertiginous zeal.

As if that wasn't enough, "Sing" closes the proceedings on an interesting but odd note: a Dixie-style jamboree. It may seem like too much for a band this early in their career, but Goliathon clearly aren't waiting on anyone. The chimera of Pretend It's Not Happening may not make for Top 40 material, but it is a thrilling odyssey that should continue ameliorating from sound to stage. - NUVO Magazine


"Goliathon: Future Heroes of Indie-Prog"

by Gregg Lee

I am sitting at a table in the storeroom of a machine shop that, for the lateness of the hour, is suspiciously and fully operational. Beyond the storeroom door, lathes are spinning, torches are welding, sparks are flying. If this weren’t Weeping Elvis, you’d be excused for assuming that I am about to be tortured by a drug cartel.

But this is a rehearsal space, carved out of a mountain of ancient desktop computers and electrical components, and I am here to meet Goliathon – an unsigned Indianapolis quintet that has just released one of the best albums of the year.

Goliathon exists in a very specific and difficult “now.” A now in which the conventional Sirius XMU wisdom dictates that all music is made on laptops and iPads in Williamsburg, Brooklyn. But this group of twenty-something life-long friends are challenging that wisdom with power, volume and a collective love for vintage gear and classic prog.

Pretend It’s Not Happening, the band’s second album, comes from a specific rock and roll moment: when guitars ruled the world (Goliathon has three); when drums and bass were physical instruments that people actually played; when vocals tore at the throat; when bands played together. “No one wanted to record the band live,” says manager Sherry Cole. Eventually, they found a sympathetic producer in Ryan Koch, who recorded Pretend… in his converted horse barn known as The Arkbarn.

And it doesn’t take much of a listen to opening track “Diogenes,” to decipher this band’s lineage. From the Buck Dharma-style opening figure that yields to some major Alex-and-Geddy-style riffage, you’re more than a minute into a mini-overture before vocalist Chris Probasco finally escorts you into Goliathon’s world:

“I’m eating my hair up here/It’s in my mouth and my throat
I might be looking you square in the eyes/But I think I might choke”

Yes, this is prog. A new type of accelerated, intense, emotional prog. For the next 36 minutes, Probasco and his bandmates, guitarists Christian Wren and Derek Kendall, bassist/keyboardist Colby Holmes and drummer Matthew Allan Fields, grab you by the collar and weave you at high speed through a frenzied and chaotic open air bazaar of progressive hard rock. There is a riotous element to much of their music. At specific moments in songs like “White Frozen Wasteland” or “Make Tracks” — when they are in full roar — it feels like they have turned on each other…like they are pummeling each other. Wren says that the chaos is an unexpected by-product of a compositional formula, one that marries well-rehearsed interplay to an improvisational spirit. Indeed, the three guitars are in a kind of independent lock-step at times, while the bass and drums – those wonderfully organic bass and drums – tether them, so even if they were to leave the atmosphere they would still be bound together.



Things are difficult for this band. They are a progressive-hard rock band in a city that barely recognizes either genre. What’s more, they have arrived at a time when the new creation and distribution models have reached a nadir, and the prospect of “making it” seems to be right back where it was 30 years ago. Which means that Goliathon — despite the accomplishment of this album that is wise beyond its years — is mostly on their own. And their struggle is indicative of how things haven’t changed much in this increasingly crowded market. As recently as a few years ago, the Internet was seen as the hammer that broke down the walls to previously unreachable fan bases. Now, the sad reality is as it’s always been – dynamic and exciting young bands like Goliathon are getting lost in the static created by “Gangnam Style.”

But, the group sticks to a loose plan for their immediate and long term future. Colby Holmes recalls seeing Baroness on three successive tours as they climbed up the bill each time. Probasco cites Porcupine Tree, a legendary band with a small but sustainable following as another business role model. It’s not about living in a mansion, says Probasco, it’s about achieving “recognition and acknowledgement.”


With that also comes the challenge of how they are perceived. Early on, “we were wrapped up with metal bands,” says Fields. Probasco then recalls their very first write-up in which the reviewer altogether dismissed the metal tag. So, there is a concern that the band could again get cloistered into a genre that doesn’t fit them. A mention of the “p” word gets immediate nods all around, albeit with a humble disclaimer. “Cinematic Rock” is the term they all agree on. But their overt influences – Rush, Opeth, King Crimson, to name a few – are openly revealed.

Goliathon knows they’re good, but they are cautiously realistic about it. Even when prodded about how Pretend It’s Not Happening betrays how confident they might be in secret, Christian Wren offers that “as soon as you think you’re good enough, you’re done.” Probasco completes the statement, “Everybody hits pl - Weeping Elvis


"Goliathon: Future Heroes of Indie-Prog"

by Gregg Lee

I am sitting at a table in the storeroom of a machine shop that, for the lateness of the hour, is suspiciously and fully operational. Beyond the storeroom door, lathes are spinning, torches are welding, sparks are flying. If this weren’t Weeping Elvis, you’d be excused for assuming that I am about to be tortured by a drug cartel.

But this is a rehearsal space, carved out of a mountain of ancient desktop computers and electrical components, and I am here to meet Goliathon – an unsigned Indianapolis quintet that has just released one of the best albums of the year.

Goliathon exists in a very specific and difficult “now.” A now in which the conventional Sirius XMU wisdom dictates that all music is made on laptops and iPads in Williamsburg, Brooklyn. But this group of twenty-something life-long friends are challenging that wisdom with power, volume and a collective love for vintage gear and classic prog.

Pretend It’s Not Happening, the band’s second album, comes from a specific rock and roll moment: when guitars ruled the world (Goliathon has three); when drums and bass were physical instruments that people actually played; when vocals tore at the throat; when bands played together. “No one wanted to record the band live,” says manager Sherry Cole. Eventually, they found a sympathetic producer in Ryan Koch, who recorded Pretend… in his converted horse barn known as The Arkbarn.

And it doesn’t take much of a listen to opening track “Diogenes,” to decipher this band’s lineage. From the Buck Dharma-style opening figure that yields to some major Alex-and-Geddy-style riffage, you’re more than a minute into a mini-overture before vocalist Chris Probasco finally escorts you into Goliathon’s world:

“I’m eating my hair up here/It’s in my mouth and my throat
I might be looking you square in the eyes/But I think I might choke”

Yes, this is prog. A new type of accelerated, intense, emotional prog. For the next 36 minutes, Probasco and his bandmates, guitarists Christian Wren and Derek Kendall, bassist/keyboardist Colby Holmes and drummer Matthew Allan Fields, grab you by the collar and weave you at high speed through a frenzied and chaotic open air bazaar of progressive hard rock. There is a riotous element to much of their music. At specific moments in songs like “White Frozen Wasteland” or “Make Tracks” — when they are in full roar — it feels like they have turned on each other…like they are pummeling each other. Wren says that the chaos is an unexpected by-product of a compositional formula, one that marries well-rehearsed interplay to an improvisational spirit. Indeed, the three guitars are in a kind of independent lock-step at times, while the bass and drums – those wonderfully organic bass and drums – tether them, so even if they were to leave the atmosphere they would still be bound together.



Things are difficult for this band. They are a progressive-hard rock band in a city that barely recognizes either genre. What’s more, they have arrived at a time when the new creation and distribution models have reached a nadir, and the prospect of “making it” seems to be right back where it was 30 years ago. Which means that Goliathon — despite the accomplishment of this album that is wise beyond its years — is mostly on their own. And their struggle is indicative of how things haven’t changed much in this increasingly crowded market. As recently as a few years ago, the Internet was seen as the hammer that broke down the walls to previously unreachable fan bases. Now, the sad reality is as it’s always been – dynamic and exciting young bands like Goliathon are getting lost in the static created by “Gangnam Style.”

But, the group sticks to a loose plan for their immediate and long term future. Colby Holmes recalls seeing Baroness on three successive tours as they climbed up the bill each time. Probasco cites Porcupine Tree, a legendary band with a small but sustainable following as another business role model. It’s not about living in a mansion, says Probasco, it’s about achieving “recognition and acknowledgement.”


With that also comes the challenge of how they are perceived. Early on, “we were wrapped up with metal bands,” says Fields. Probasco then recalls their very first write-up in which the reviewer altogether dismissed the metal tag. So, there is a concern that the band could again get cloistered into a genre that doesn’t fit them. A mention of the “p” word gets immediate nods all around, albeit with a humble disclaimer. “Cinematic Rock” is the term they all agree on. But their overt influences – Rush, Opeth, King Crimson, to name a few – are openly revealed.

Goliathon knows they’re good, but they are cautiously realistic about it. Even when prodded about how Pretend It’s Not Happening betrays how confident they might be in secret, Christian Wren offers that “as soon as you think you’re good enough, you’re done.” Probasco completes the statement, “Everybody hits pl - Weeping Elvis


"Goliathon to play IMAF"

by Wade Coggeshall

The studio on Ryan Koch’s Southside property looks like a horse barn on the outside, because that’s what it used to be.

Over several years Koch, a local musician and producer, has painstakingly poured his earnings into building up the facility. Fellow Southsiders Goliathon, a rock and roll quintet with a penchant for massive hooks and kaleidoscopic flourishes, recorded their demo here a few years ago. Following the release of their full-length debut, Without Further Ado, in 2010, they’re back at Koch’s studio — known as the Arkbarn — hard at work on the follow-up. Titled Pretend It’s Not Happening, Goliathon will have a record release show for it Aug. 31 at Radio Radio. Before then they’re playing this Saturday as part of the Independent Music + Art Festival at the Harrison Center.

Over servings of Negra Modelo and Sun King Wee Mac one recent evening in the studio’s lounge, band members discussed what brought them back to the Arkbarn. They admit to having shopped around before deciding to return here. Aside from the studio’s continual upgrades, it helped that Koch was so insistent on bringing Goliathon back.

“It’s nicer recording with a friend versus someone with a big studio who doesn’t give a shit about you,” said drummer Matthew Fields. “The people we’ve been choosing genuinely want to work with us.”

Up to now all the instruments have been recorded. Chris Probasco’s vocals have been delayed because he’s had strep throat. Today he’s taking shots of apple cider vinegar as a remedy.

“It’s as bad as whiskey, but it fixes you,” said Probasco.

Without Further Ado earned Goliathon comparisons to acts like Led Zeppelin, as well as a place in the local metal community. While getting an opening slot for The Sword is appreciated, the band wants to be acknowledged as more than just a bludgeoning force. Words like “melodic,” “mature” and “dynamic” are used to describe the new material.

“We’re starting to cut back and craft more,” Probasco said. “We still have six- and seven-minute songs, but they’re more accessible. Doesn’t matter to me what genre we get lumped into now. I just want you to like it.”
“It all fits together, but I feel like they change enough to keep you interested,” added bassist Colby Holmes.
If there’s one aspect to Goliathon that makes them stand out from their hard-hitting peers, it’s their use of varied instrumentation. Amidst all the crushing riffs, Probasco isn’t afraid to break out a saxophone solo, something he’s been playing since he joined the school band in fifth grade. Holmes adds organ accents when the mood calls for it.

“Nothing’s off-limits,” said guitarist Derek Kendall. “We’re all allowed to come up with whatever off-the-wall ideas we can.”

That philosophy is working. Koch cues up some of Goliathon’s new tracks in his wood-paneled control room. One starts with funhouse keys, circular guitars and a stalking rhythm section, only to slow and sound voodoo-y before losing its collective mind. Another, set to open the album, has myriad movements. Prickly guitars explode into a cacophony of rebellious rock before adding organ swells and a shuffling rhythm. Yet another is prevailing, dramatic rock that leaves room for bluesy and acoustic touches. There’s even a country-inspired stomp with slide guitar that inspires guitarist Christian Wren to clap his hands.

“One of the things we value is writing songs we like,” he said. “If other people like them too, that’s a bonus.”
The members of Goliathon have eclectic enough tastes that it could easily impede songwriting. So far that hasn’t really been the case. They attribute that to the fact they’ve all known each other since elementary school. Holmes and Wren met the first day of second grade. Kendall and Probasco grew up in the same neighborhood. Most of them were in a band together during high school. After that fizzled, some of them continued to hang out and jam. Others gradually joined the fold that would become Goliathon.

Probasco said they’ve all been in bands where they had to search for specific musicians to complete the lineup.
“With this, we all kind of came together, but it was never really planned to become what it has,” he said. “It’s evolved into what it is now. I think that sets us apart from a lot of bands. We weren’t auditioning. We were just jamming and it worked.”

Holmes said another key to their progress is writing together.

“Every other band I’ve played in there was always one guy writing the songs and everyone else added their parts,” he said. “In this band someone comes up with a riff then jams with a few others and it kind of starts to change.”
Goliathon have taken some lumps though. A self-booked East Coast tour served more as a rite of passage than a money-making venture. Shows were pretty hit and miss. The Philadelphia date was canceled because the other scheduled band didn’t show up. Goliathon made up for that by visiting the Rocky Balboa statue and having a - NUVO Magazine


Discography

2010- Without Further Ado
2012- Pretend It's Not Happening

Photos

Bio

Goliathon: Future Heroes of Indie-Prog
Posted by Gregg Lee on Sep 30, 2012

"I am sitting at a table in the storeroom of a machine shop that, for the lateness of the hour, is suspiciously and fully operational. Beyond the storeroom door, lathes are spinning, torches are welding, sparks are flying. If this weren’t Weeping Elvis, you’d be excused for assuming that I am about to be tortured by a drug cartel.

But this is a rehearsal space, carved out of a mountain of ancient desktop computers and electrical components, and I am here to meet Goliathon – an unsigned Indianapolis quintet that has just released one of the best albums of the year.

Goliathon exists in a very specific and difficult “now.” A now in which the conventional Sirius XMU wisdom dictates that all music is made on laptops and iPads in Williamsburg, Brooklyn. But this group of twenty-something life-long friends are challenging that wisdom with power, volume and a collective love for vintage gear and classic prog.

Pretend It’s Not Happening, the band’s second album, comes from a specific rock and roll moment: when guitars ruled the world (Goliathon has three); when drums and bass were physical instruments that people actually played; when vocals tore at the throat; when bands played together. “No one wanted to record the band live,” says manager Sherry Cole. Eventually, they found a sympathetic producer in Ryan Koch, who recorded Pretend… in his converted horse barn known as The Arkbarn.

And it doesn’t take much of a listen to opening track “Diogenes,” to decipher this band’s lineage. From the Buck Dharma-style opening figure that yields to some major Alex-and-Geddy-style riffage, you’re more than a minute into a mini-overture before vocalist Chris Probasco finally escorts you into Goliathon’s world:

“I’m eating my hair up here/It’s in my mouth and my throat
I might be looking you square in the eyes/But I think I might choke”

Yes, this is prog. A new type of accelerated, intense, emotional prog. For the next 36 minutes, Probasco and his bandmates, guitarists Christian Wren and Derek Kendall, bassist/keyboardist Colby Holmes and drummer Matthew Allan Fields, grab you by the collar and weave you at high speed through a frenzied and chaotic open air bazaar of progressive hard rock. There is a riotous element to much of their music. At specific moments in songs like “White Frozen Wasteland” or “Make Tracks” — when they are in full roar — it feels like they have turned on each other…like they are pummeling each other. Wren says that the chaos is an unexpected by-product of a compositional formula, one that marries well-rehearsed interplay to an improvisational spirit. Indeed, the three guitars are in a kind of independent lock-step at times, while the bass and drums – those wonderfully organic bass and drums – tether them, so even if they were to leave the atmosphere they would still be bound together.

Things are difficult for this band. They are a progressive-hard rock band in a city that barely recognizes either genre. What’s more, they have arrived at a time when the new creation and distribution models have reached a nadir, and the prospect of “making it” seems to be right back where it was 30 years ago. Which means that Goliathon — despite the accomplishment of this album that is wise beyond its years — is mostly on their own. And their struggle is indicative of how things haven’t changed much in this increasingly crowded market. As recently as a few years ago, the Internet was seen as the hammer that broke down the walls to previously unreachable fan bases. Now, the sad reality is as it’s always been – dynamic and exciting young bands like Goliathon are getting lost in the static created by “Gangnam Style.”

But, the group sticks to a loose plan for their immediate and long term future. Colby Holmes recalls seeing Baroness on three successive tours as they climbed up the bill each time. Probasco cites Porcupine Tree, a legendary band with a small but sustainable following as another business role model. It’s not about living in a mansion, says Probasco, it’s about achieving “recognition and acknowledgement.”

With that also comes the challenge of how they are perceived. Early on, “we were wrapped up with metal bands,” says Fields. Probasco then recalls their very first write-up in which the reviewer altogether dismissed the metal tag. So, there is a concern that the band could again get cloistered into a genre that doesn’t fit them. A mention of the “p” word gets immediate nods all around, albeit with a humble disclaimer. “Cinematic Rock” is the term they all agree on. But their overt influences – Rush, Opeth, King Crimson, to name a few – are openly revealed.

Goliathon knows they’re good, but they are cautiously realistic about it. Even when prodded about how Pretend It’s Not Happening betrays how confident they might be in secret, Christian Wren offers that “as soon as you think you’re good enough, yo