Orange Goblin – Science, Not Fiction (Peaceville Records)
ORANGE F*CKING GOBLIN BABY!! That’s how you’re supposed to start every Orange Goblin review right? Cool nailed it! Seriously every new record from the London heavy metal legends should be greeted with open arms and six pack of cans from the offy, you nearly always know what you’re going to get but much like American counterparts Clutch, it’s going to be a tour-de-force of anthemic heavy rock, with Clutch playing on the heritage of their country, Orange Goblin doing the same but with the Anglian mythos inspiring their lyrics, as Sabbath inspire the music.Since 2012 they’ve been on Peaceville Records and have had Harry Armstrong (Blind River) taking the bass role but the core trio of riff master general Joe Hoare, percussion punisher Chris Turner and party starter-in-chief Ben Ward remain from the debut Frequencies From Planet Ten all the way back in 1997. As they transitioned from the psychedelic stoner/doom of those early records to the leaner, meaner style they have now Orange Goblin have become one of the most respected bands on the UK metal scene, more importantly as I alluded to earlier they’ve been consistent, their recorded work is always been fantastic (their live show phenomenal), the grooves hit just right, the riffs get the head nodding and there’s enough grit and guts in the choruses to get you shouting along.
There’s no change then on tenth album Science, Not Fiction, OG picking a fight with the countless internet warriors who claim their version of things is accurate while science always begs to differ. (Case in point the countless Covid conspiracies), but there’s also musings on spirituality and religion as well, so lots to rage at as we get going with Harry’s dirty Hangnail bass riff, building into a big muscly OG shouter, the psych doom beginnings of the band strong here as is the Sabbath worship. Aaaand we’re off more Goblin, more Orange, more riffs. There’s some Motorhead blues n roll on (Not) Rocket Science, a track that will get plenty of movement when they play it on stage later this year and Ascend The Negative is classic OG, thick riffs, a walking groove and the gravel strewn vocals, slowing down in the middle to a doomy trudge.
Just three tracks in and already it’s taking no shit, they move into a woozy psych to the snide, social commentary on False Hope Diet, Ben Ward's rallying against untruths and falsehoods, delivered with that rough and ready vocal. Then there’s a shift towards another chunky march the voice gets a bit cleaner here as the contradictions of witchcraft and science blur in a malaise of guitar and organ. Speaking of witchcraft, Cemetery Rats ups the spook level and the doom too, with some piano to open into bubbling bass and a slow steady drumbeat build the grungy atmosphere as the main riff cuts in with some punk rock snarling. The way OG can be intelligent but also blunt has always been a key to their appeal, in some ways it’s like a scholar explaining something to you but doing it by shouting it at you.
Orange Goblin have pulled out all the stops here, delving into every part of their past glories, slapping a little bit of biker blues on The Fury Of The Patient Man, getting percussive and groovy on Gemini (Twins Of Evil), classic proto-metal melodies here. As you get towards the end of this tenth studio record, End Of Transmission swirls with into deep space while The Justice Knife a showcase for fuzzy solos and chest beating riffage. Science, Not Fiction brings the myth of Orange Goblin crashing into its 30th year with an album that reinforces their status as one of the UK’s finest bands. 9/10
Assemble The Chariots - Ephemeral Trilogy Episode 1: Unyielding Night (Seek & Strike)
Christ listen to that drummer. My first thoughts when I heard Assemble The Chariot’s new album Unyielding Night. My second thought was; there’s 14 tracks of this? But no there isn’t a few of those are interludes to tell the conceptual story behind this album. For fans of Orbit Culture and Lorna Shore, Assemble The Chains is high concept, high drama, technically impressive death metal with some shifts into the ‘core’ sound. The orchestrations though remind me of the much missed Xerath or any of the bands on Seek & Strike that can be called ‘blackened deathcore’. The label know their audience and as such the more bombastic and OTT the musical dynamics the better so long as the drums punish, the riffs bite and snarl, there’s solos, breakdowns and vocal grunts/screams.
It’s almost nonlinear, not always doing what you’d expect but creating music that is epic with a capital E. Are the drums triggers? Who cares when a track like Reavers March is just so freaking heavy? The orchestral stings just adding to the cinematic sound of the concept, after this though Ephemeral Stream adds dreamy female vocals and more strings to build with more storytelling into the blasting aggression of Emancipation. It’s an album of contrasts, the abrasive extreme metal against the cinematic soundtrack, but my god it works, what’s even more impressive is that this album is a debut, the scope is mind blowing with operatic vocals coming on Emancipation, each change in sound, genre, style done to suit the progress of the overarching storyline.
Christ listen to that drummer. My first thoughts when I heard Assemble The Chariot’s new album Unyielding Night. My second thought was; there’s 14 tracks of this? But no there isn’t a few of those are interludes to tell the conceptual story behind this album. For fans of Orbit Culture and Lorna Shore, Assemble The Chains is high concept, high drama, technically impressive death metal with some shifts into the ‘core’ sound. The orchestrations though remind me of the much missed Xerath or any of the bands on Seek & Strike that can be called ‘blackened deathcore’. The label know their audience and as such the more bombastic and OTT the musical dynamics the better so long as the drums punish, the riffs bite and snarl, there’s solos, breakdowns and vocal grunts/screams.
It’s almost nonlinear, not always doing what you’d expect but creating music that is epic with a capital E. Are the drums triggers? Who cares when a track like Reavers March is just so freaking heavy? The orchestral stings just adding to the cinematic sound of the concept, after this though Ephemeral Stream adds dreamy female vocals and more strings to build with more storytelling into the blasting aggression of Emancipation. It’s an album of contrasts, the abrasive extreme metal against the cinematic soundtrack, but my god it works, what’s even more impressive is that this album is a debut, the scope is mind blowing with operatic vocals coming on Emancipation, each change in sound, genre, style done to suit the progress of the overarching storyline.
With Keeper Of The Stars, you feel like you’re nearing a climax as all the elements from the album start to confluence, the classic metal solos, the varied vocal assault and huge walls of symphonics, it’s building towards a climactic battle between the people of Aquilegia and Reavers. This is the concept, a sprawling sci-fi epic that takes cues from many galactic soap operas, films and books and it’s just the beginning, a thrilling, fantastic part 1 that made my jaw drop when I first played it. Hopefully part 2 is around the corner. 9/10
Servants To The Tide - When Time Will Come To Die (No Remorse Records)
Inspired by bands such as Solitude Aetrunus, Atlantean Kodex, Manilla Road, Citith Ungol, While Heaven Wept, Savatage and Candlemass, Servants ToThe Tide play epic heavy/doom metal which delivers what is expected in spades. I gave their debut album 8/10, but it has grown on me even more since then, so three years later I have high expectations for When Time Will Come To Die.
The expectation is due to Servants To The Tide no longer being a 'bedroom project' for songwriter/guitarist Leonid Rubinstein, they are now a muscular well verse five piece who have played shows across their native Germany including gigs with Achelous and Atlantean Kodex. With music that could fit on the bills of Up The Hammers or Keep It True, this second album details the story of existence, from the initial spark of the universe to possible futures and the death of the universe.
It's high concept, high drama and come with lashings of tasty riffs, that have been again created by Leon but has been matured alongside the band to make it more dynamic than the debut, keeping the strong foundation of doom but adding classic metal harmonies, power metal orchestrations and bold vocal phrasing. Sitting in the middle of the album is a 10 minute monolith, If The Stars Should Appear, a song in three parts that is a cinematic middle section to the album. It's all here, orchestras, pianos, melodrama, time changes, it's a labyrinthine epic of the highest order
However I'm getting ahead of myself, When Time Will Come To Die begins with a pacey, classic metal gallops on With Starlight We Ride, Leon and Katharina Großbongardt riffing up a storm which feels like the prime 80's Teutonic heavy metal of Grave Digger or Running Wild, a special guest solo is given by David Kuri of Flame, Dear Flame/Writhen Hilt. Beginning with something that moves at a riding pace, we go back to histrionic doom on Sunrise In Eden, Stephan Wehrbein's vocals really shine on this one, trading on the emotion and theatrics of Savatage.
In the back room the drums of Lucas Freise and bass of Sören Reinholdt anchors The Trial (a bonus track on the CD), the moderate cadence of the guitars coming from doom, but the drumming double blasts like it's death metal, shifting into the widdly solo of Jonas Papmeier of Leon's previous band Craving, more Savatage-isms here. Then with just a simple drum fill and a bass thomp, White Wanderer builds the drama and tension, Stephan's vocals grizzled and damaged on this one, set against the slow march of the guitars and the ominous keys/choirs.
Sören and Leon take production, highlighting all the instruments to make for a crystal clear sound, Bart Gabriel's mastering giving it a warmer/analogue glow. I'll have to mention that to me the sequencing is a little strange putting the two ballads to bookend the mid album epic does ruin the flow a little bit, meaning that if you're not totally committed to the genre you may struggle in this middle section and long for a bit of distortion or momentum. That said anyone who loves the metal introspective and powerful will find lots to like on When Time Will Come To Die. 8/10
Keys - The Grand Seduction (Escape Music)
Jake E is the voice of Cyhra and formerly of Amaranthe while Mark Mangold is a keyboard wizard who has toured and played with multiple huge rock stars. Both of them collide in Keys, an all keyboard melodic metal/classic rock band. Yep all keyboards, imagine a rock band featuring Keith Emerson, Jean Michel Jarre, Rick Wakeman, Vangelis and Jon Lord with a power metal/AOR singer then you'll be bordering on what Keys bring to the table.
Joining the core duo are Emanuel Bagge on additional vocals and keys, Irwan Fabrien who designs keyboard-guitar soundscapes, to play keys through a plug in to emulate guitars. Then there are drummers Adde Larsson and Alex Landenburg (Kamelot/Cyhra) who are the rhythms behind this multi genre release.
It's hard to categorize but they mainly stick to classic rock/melodic rock though there's dalliances with prog rock on the title track, which is like a Styx tribute. That's a good thing by the way. The oscillating theatrical melodies undercooked with organ fuzz and a 'guitar' solo that you'd never guess was a keyboard. It's an 8 minute beginning to this quirky rock n roll show.
All I Need comes straight out of the ELP musical kitchen, as Shining Sails adds some shimmering AOR where Jake becomes David Coverdale. Vortex is similar to much of Jake E's day job in the melodic metal sphere, on Turn To Dust there's some strings and low EDM pulses from 90's alt rock as Crazy Town puts Eliminator-era ZZ Top with Uriah Heep.
The Grand Seduction is an intriguing listen if like me you like odd instruments and how they can be used to create familiar soundscapes. It's a rock album and without prior knowledge you wouldn't thing that everything was keys. 8/10
Servants To The Tide - When Time Will Come To Die (No Remorse Records)
Inspired by bands such as Solitude Aetrunus, Atlantean Kodex, Manilla Road, Citith Ungol, While Heaven Wept, Savatage and Candlemass, Servants ToThe Tide play epic heavy/doom metal which delivers what is expected in spades. I gave their debut album 8/10, but it has grown on me even more since then, so three years later I have high expectations for When Time Will Come To Die.
The expectation is due to Servants To The Tide no longer being a 'bedroom project' for songwriter/guitarist Leonid Rubinstein, they are now a muscular well verse five piece who have played shows across their native Germany including gigs with Achelous and Atlantean Kodex. With music that could fit on the bills of Up The Hammers or Keep It True, this second album details the story of existence, from the initial spark of the universe to possible futures and the death of the universe.
It's high concept, high drama and come with lashings of tasty riffs, that have been again created by Leon but has been matured alongside the band to make it more dynamic than the debut, keeping the strong foundation of doom but adding classic metal harmonies, power metal orchestrations and bold vocal phrasing. Sitting in the middle of the album is a 10 minute monolith, If The Stars Should Appear, a song in three parts that is a cinematic middle section to the album. It's all here, orchestras, pianos, melodrama, time changes, it's a labyrinthine epic of the highest order
However I'm getting ahead of myself, When Time Will Come To Die begins with a pacey, classic metal gallops on With Starlight We Ride, Leon and Katharina Großbongardt riffing up a storm which feels like the prime 80's Teutonic heavy metal of Grave Digger or Running Wild, a special guest solo is given by David Kuri of Flame, Dear Flame/Writhen Hilt. Beginning with something that moves at a riding pace, we go back to histrionic doom on Sunrise In Eden, Stephan Wehrbein's vocals really shine on this one, trading on the emotion and theatrics of Savatage.
In the back room the drums of Lucas Freise and bass of Sören Reinholdt anchors The Trial (a bonus track on the CD), the moderate cadence of the guitars coming from doom, but the drumming double blasts like it's death metal, shifting into the widdly solo of Jonas Papmeier of Leon's previous band Craving, more Savatage-isms here. Then with just a simple drum fill and a bass thomp, White Wanderer builds the drama and tension, Stephan's vocals grizzled and damaged on this one, set against the slow march of the guitars and the ominous keys/choirs.
Sören and Leon take production, highlighting all the instruments to make for a crystal clear sound, Bart Gabriel's mastering giving it a warmer/analogue glow. I'll have to mention that to me the sequencing is a little strange putting the two ballads to bookend the mid album epic does ruin the flow a little bit, meaning that if you're not totally committed to the genre you may struggle in this middle section and long for a bit of distortion or momentum. That said anyone who loves the metal introspective and powerful will find lots to like on When Time Will Come To Die. 8/10
Keys - The Grand Seduction (Escape Music)
Jake E is the voice of Cyhra and formerly of Amaranthe while Mark Mangold is a keyboard wizard who has toured and played with multiple huge rock stars. Both of them collide in Keys, an all keyboard melodic metal/classic rock band. Yep all keyboards, imagine a rock band featuring Keith Emerson, Jean Michel Jarre, Rick Wakeman, Vangelis and Jon Lord with a power metal/AOR singer then you'll be bordering on what Keys bring to the table.
Joining the core duo are Emanuel Bagge on additional vocals and keys, Irwan Fabrien who designs keyboard-guitar soundscapes, to play keys through a plug in to emulate guitars. Then there are drummers Adde Larsson and Alex Landenburg (Kamelot/Cyhra) who are the rhythms behind this multi genre release.
It's hard to categorize but they mainly stick to classic rock/melodic rock though there's dalliances with prog rock on the title track, which is like a Styx tribute. That's a good thing by the way. The oscillating theatrical melodies undercooked with organ fuzz and a 'guitar' solo that you'd never guess was a keyboard. It's an 8 minute beginning to this quirky rock n roll show.
All I Need comes straight out of the ELP musical kitchen, as Shining Sails adds some shimmering AOR where Jake becomes David Coverdale. Vortex is similar to much of Jake E's day job in the melodic metal sphere, on Turn To Dust there's some strings and low EDM pulses from 90's alt rock as Crazy Town puts Eliminator-era ZZ Top with Uriah Heep.
The Grand Seduction is an intriguing listen if like me you like odd instruments and how they can be used to create familiar soundscapes. It's a rock album and without prior knowledge you wouldn't thing that everything was keys. 8/10
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