Twenty years and eight albums on from their beginning as Our Haunted Kingdom, the hills would seem to be few and far between for Orange Goblin, but they keep climbing. The reigning kings of London’s populous heavy rock scene and in many aspects its progenitors, the four-piece seemed to enter a new phase in their career with 2012’s A Eulogy for the Damned (review here), also their Candlelight Records debut. After several years languished following release trouble for 2007’s stellar Healing through Fire, light touring and no output, it was as likely as not they were done. In the years since, they’ve become one of heavy rock’s most eminent stage acts — the 2013 stopgap live album, A Eulogy for the Fans (review here) documented this thoroughly — and their influence continues to resonate well outside of their UK homebase. Back from the Abyss, their latest studio outing, arrives with 12 tracks and 57 minutes of new music and finds guitarist Joe Hoare, bassist Martyn Millard, drummer Chris Turner and frontman extraordinaire Ben Ward pummeling along similar lines as its predecessor. Also released by Candlelight, it boasts a similarly clean production style, and with AC/DC and Motörhead as their primary models, Orange Goblin seem across its span to be shifting into a comfort zone of brash turns, snarled vocals, heavy riffs and catchy songwriting. Stylistically and thematically, songs like “Mythical Knives,” “Übermensch,” “Heavy Lies the Crown” and “The Abyss” aren’t so far from what Orange Goblin have done since 2004’s Thieving from the House of God — they’ve long since been in command of their sound — but the vibe is steadier, more self-aware. They’ve established their formula, and like AC/DC, like Motörhead, like Slayer, the project now isn’t so much searching for what they want the sound to be as working to refine it as they move forward.
Like its predecessor, Back from the Abyss was recorded by Jamie Dodd at The Animal Farm in London, and if the band wanted to capture a similar feel, it’s understandable given the welcome reception and success of A Eulogy for the Damned. That’s not to say Back from the Abyss doesn’t have a personality of its own. One can hear it in the tightness of the crisp, thrashing “The Devil’s Whip” and its second-half companion “Bloodzilla,” or in how clearly Orange Goblin are writing for their audience. Ward is not through opener “Sabbath Hex” before he’s interacting with an imaginary crowd: “If you understand, raise your right hand/Repeat after me, we are stone free.” Perhaps that’s direct acknowledgement of how much of a professional live band Orange Goblin have become, and no doubt when that cut is aired live it receives or will receive the desired effect, but if Orange Goblin are writing songs for the stage, they run into the trouble of not needing 12 of them for a new release, and that becomes a conundrum for Back from the Abyss as it plays out. The semi-title-track “The Abyss” is well constructed but doesn’t accomplish much that “Übermensch” didn’t already nail, and while the penultimate “Blood of Them” is a blend of hook and horror-inspired atmosphere worthy of “The Fog” from the last record, “Into the Arms of Morpheus,” which ends the first half of the album (presumably, the first of two LPs encompassed), is a better longer-form progression, sounds more inspired and is closer to the front for a reason. The three-minute instrumental closer, “The Shadow over Innsmouth,” has a lumbering doom sensibility and deftly layered-in solo lines from Hoare, but where it seems to be waiting for its kickoff-riff the way “Mythical Knives” moves from a progressive-sounding opening into bruiser riff and the band’s particular burl, the last track just fades out, ending an offering so obviously keyed for adrenaline on a downer note. Maybe that’s the trip back from the abyss? I don’t really know.
For longer-term fans, the meat of Back from the Abyss comes toward the end of its first half. “Sabbath Hex” is a vibrant opener, “Übermensch” is a formidable showing of a songwriting formula at work, and “The Devil’s Whip” proves that Orange Goblin can tear it up full-speed with no questions asked, but it’s “Demon Blues,” “Heavy Lies the Crown” and “Into the Arms of Morpheus” that really convey a sense of the band’s maturity, their position among the world’s foremost heavy rock acts, and an album-style flow. Millard and Turner setting the foundation, Hoare drives the riff of “Demon Blues” and Ward masterfully rides that groove, leading to the bluesy intro of “Heavy Lies the Crown,” vocals following the guitar for the album’s catchiest chorus: “Who am I to, to make the rules, to break the rules and slay the fools/How am I, to be the man, who rules the land, with sword in hand/Fire roars, upon the shores that carry heroes off to wars/Heavy lies the crown I wear, but I did swear this weight to bear.” A somewhat inflated view of the band’s status, but a hell of a hook. At 7:27, “Into the Arms of Morpheus” is Back from the Abyss‘ longest track, Millard handling the opening with a choice bassline soon built upon by Hoare and Turner, the song taking a stoner rocker’s time to fully unfold. It works in three movements — the opening jam, the verse/chorus trade, and the closing jam — but it’s structurally and in sheer listenability the most human portion of the album, and they still get their sing-along in there too. The subsequent “Mythical Knives” is a solid opener for the second LP of a kin with “Sabbath Hex” or “Übermensch,” but “Bloodzilla” and “The Abyss” don’t have the same urgency behind them, and “Titan,” the instrumental preceding “Blood of Them,” features a welcome guitar hook, but neither pulls the listener back in nor leads directly into “Blood of Them,” which opens with fading-in bass over spooky-style ambience and shifts into a vehement closer (even though it’s the second to last track, it’s obviously the final push), with Ward‘s growl echoing out one last monstrous chorus.
Even the transition between “Blood of Them” and “The Shadow over Innsmouth” seems choppy. They could’ve easily put some more spooky rumbling after “Blood of Them” cut out to smooth the way into the finale, but it’s cold one into the next, and in truth, much of the album is that way as well apart from the first-half section already noted. As a fan of the band, I won’t discount Orange Goblin‘s songwriting ability, and in presence and performance, Back from the Abyss lacks nothing. For how tight they sound, however, the presentation should match, particularly as it’s the longest record they’ve ever done (1998’s Time Travelling Blues and 2002’s Coup de Grace were close). Still, their momentum will continue to carry them forward, and there’s more than enough material here to fit well in the setlist alongside “Red Tide Rising” from the last record and the host of classics from their storied career — “Quincy the Pigboy,” “Scorpionica,” “Blue Snow” (if you’re lucky), “They Come Back,” “Some You Win, Some You Lose,” and so on — and that’s pretty clearly the point. Back from the Abyss isn’t a perfect album, but for a lot of what they do and however many hills they may yet climb, Orange Goblin are largely undeniable. They remain undeniable.