Yoann Lemoine is definitely one of those pervasive types you may not have heard of, but whose work you almost certainly have. Under the Woodkid moniker, his bombastic sound has proven irresistible to trailer houses: ‘Iron’ provided a memorable soundtrack to the Assassin’s Creed: Revelations trailer, while the ascendant clamour of ‘Run Boy Run’ has been used so many times it’s genuinely ridiculous. ‘Goliath’ is a return to enormous, planet-cracking form.
The MO of Woodkid’s music has been operatic grandeur, but ‘Goliath’ has a dirtier sound. It has a snarl to it a million miles from the openhearted ‘I Love You’ or awestruck ‘Run Boy Run’. The opening percussion sounds like machine parts rattling in a tin can, with sounds dropping out altogether and reassembling in a chaotic whirl.
If the debut album The Golden Age was about leaving boyhood, ‘Goliath’ is the world seen for what it is. Those same youthful eyes seeing for the first time the dirty, industrial underbelly that makes everything we do possible. ‘Goliath’ grapples with the fact that all our culture and society comes from a place of rampant, insatiable destruction of the natural world.
Lemoine brings all his talents in video direction (he directed Lana Del Rey’s ‘Born To Die’ & Harry Styles’ ‘Sign Of The Times’) to bear on ‘Goliath’. The video, which charts an oil refinery worker’s discovery that he is enabling something monstrous, is breathtaking. The climactic shot of a golem emerging from the swirl of refined coal sums up the message perfectly.
‘Goliath’ really grabs you, and though Woodkid is a kid no longer, he sees the world clearer than most.