Orange Goblin, The Wolf Bites Back: Gnashing of Teeth

Posted in Reviews on June 13th, 2018 by JJ Koczan

orange goblin the wolf bites back

More than two decades on from making their debut in 1997 with Frequencies from Planet Ten, what else to call Orange Goblin but an institution? The Wolf Bites Back is the London four-piece’s ninth album, their first for sort-of-new label Spinefarm/Candlelight Records (they were on the latter, it got taken over by the former, voila: new label), and it comes after a four-year drought of studio work since the release of 2014’s Back from the Abyss (review here), which only continued to raise their profile following the 2013 live record A Eulogy for the Fans (review here) and the preceding long-player it was intended to complement, A Eulogy for the Damned (review here). Most of that time the band spent on tour, so it’s not like they’ve been sitting around actively not recording an album or something like that. They’ve been otherwise occupied, and with the sheer sense of attack that’s present in the songs that comprise The Wolf Bites Back — to say nothing of the aggressive mindset of the title or the threatening nature of the artwork — one could only argue it’s been to their benefit. In its bullshit-free 10-track/41-minute run, The Wolf Bites Back summarizes much of what’s always been righteous in Orange Goblin‘s sound.

It covers nearly every side of the band’s approach, from the Sunlight Studios-infected doom rock of “Swords of Fire” to the crisp, three-minute opening anthem “Sons of Salem” to the Motörhead speed-strut of “Renegade” and down to the last hook and long-fading solo of closer “Zeitgeist,” The Wolf Bites Back finds the band going song-by-song through the varying stylistic aspects of their own particular style, from all-out fury to dug-in groove and back again. They enter direct Southern-heavy conversation with (upcoming) tourmates Corrosion of Conformity on “The Stranger,” and do so only after the raw punker blast of the two-minute “Suicide Division” scathes and scorches and stomps into the ground the peaceful and psychedelic strumming of the actually-longer layered guitar interlude “In Bocca al Lupo” before it. There’s more reaffirmation happening throughout than breaking new aesthetic ground, but as much as The Wolf Bites Back quantifies the diversity in what Orange Goblin do, it also reminds that it’s the strength of their songwriting that has always tied their work together, and it’s on that level that their ninth full-length sees them refining their take.

Not that it doesn’t have its patient stretches or its purposefully languid moments, but frontman Ben Ward, guitarist Joe Hoare, bassist Martyn Millard and drummer Chris Turner have been playing together since at least 1995, and in the musical conversation happening between them, they sound like it. Produced with thickness and depth by Jaime Gomez Arellano (Cathedral, Primordial, Paradise Lost, many more) following the sharper, metallic tinge Jamie Dodd brought to the last two outings, The Wolf Bites Back strikes with its efficiency and ferocity alike. “Sons of Salem” is quintessential Orange Goblin, a fist-raising chorus that finds Ward inviting a sing-along without actually asking. They’ve never had trouble knowing how to launch a record, and with the title-track immediately following, there’s a moment of letup in the guitar intro to the second song, but soon enough, Turner starts a tense gallop in the drums and heavier riffing kicks into the first verse and they’re underway. An especially gruff vocal there leads to the more open chorus and “The Wolf Bites Back” makes its way through twists and turns remaining nonetheless memorable all the way.

ORANGE GOBLIN DAVID BOULONGNE

The aforementioned “Renegade” follows and pushes the throttle to the fullest it’s gone yet — “Suicide Division” will top it for sheer speed — and Millard‘s bass opening leading the way into the subsequent “Swords of Fire” not only reconfirms his place as Orange Goblin‘s not-so-secret-secret-weapon, but also sets a doomier tone to the track itself, as Ward waits until the song is more than halfway over to start the vocals, everything dropping out for a moment as Hoare quickly establishes a faster riff and the band shift into a more thrusting progression. Highlight cut “Ghosts of the Primitives,” with an immediate groove and intricate guitar style, pushes into a more standard riff soon enough but never quite loses its proggy edge, even as Hoare dips into a bluesy solo backed by Millard and Turner. Messing with structure and expectation, the real hook doesn’t arrive until shortly before four minutes into the total 5:28, and Orange Goblin earn bonus points in charm for the meta fade-out-and-back-in-and-out-again that accompanies the line “Ghosts of the primitives fade away.” You see, because he’s talking about fading and the song faded out. Sometimes nothing else will do, and though one assumes it wraps side A, it’s to the band’s credit that “Ghosts of the Primitives” doesn’t close the album as a whole, as that’s usually where such tricky fades happen.

A swath of strums and leads in “In Bocca al Lupo” — the underlying rhythm of which would seem to coincidentally call to mind Neurosis‘ “Stones from the Sky” — introduce side B before, again, “Suicide Division” rip them to shreds, gang vocals and all. That stretch of three tracks, with “In Bocca al Lupo,” “Suicide Division” and “The Stranger,” is as disjointed as The Wolf Bites Back gets, hopping between three different styles in the span of three songs and about 10 minutes total, throwing caution and continuity to the wind and trusting — rightly — that their craft will carry them through. It’s not the kind of move a band would make earlier in their career, but for longtime Orange Goblin fans, the instant swapping out of one side of their personality for another (and another) is an easy jump to make, and frankly, it makes the album more exciting since they actually pull it off. By the time the chorus of “The Stranger” hits, and really before that, they’ve succeeded in the shift, and the arrival of organ in the song’s second half is like a victory lap for the turn just made. A psycho shuffle in “Burn the Ships” brings The Wolf Bites Back back to ground stylistically, returning to the core straightforward approach of the opening duo early while saving a Pepper Keenan-style vocal for the midsection to provide a bit more context to “The Stranger” before it and saving its most vicious groove for the return to the chorus near the more winding finish.

With its long fade-in at the outset, “Zeitgeist” seems to be of a kind with “Ghosts of the Primitives,” which is fair enough since it wraps side B and thus the album as a whole, with Ward adding some echo behind a quick bridge following the first chorus and Hoare layering solos over top each other give a particular NWOBHM affect as the organ subtly returns beneath. A second stage lead takes hold just past the halfway mark, leading back to the hook and bridge, the latter repeated, and as the line “The search goes on and on…” echoes out, HoareMillard and Turner lock in for the last dive into the fadeout, the latter two holding together the rhythm as Hoare solos over top. The ending is as clean and purposeful as everything before it, and in addition to answering back the side A finale, it speaks one more time to the fact that all along throughout The Wolf Bites Back, it’s been the songwriting holding the album together. One doesn’t doubt that Orange Goblin could write a sloppier record and probably nail some of the turns they do here in terms of style, but the fact that they not only do what they do, but do it and maintain a full-album flow, present a collection of memorable tracks and still manage to sound like their mission is nothing more or less than kicking every ass in sight, well, that’s why Orange Goblin are Orange Goblin. Over their years, their influence has justifiably spread to a generation of London heavy rockers, and The Wolf Bites Back is the latest manifestation of why that is. In its energy, persona and vibe, as well as in its basic sound, The Wolf Bites Back shows Orange Goblin at the top of their game.

Orange Goblin, “Sons of Salem”

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Orange Goblin on Twitter

Orange Goblin on Instagram

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Spinefarm Records website

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Corrosion of Conformity Announce UK Tour with Orange Goblin, Fireball Ministry and Black Moth

Posted in Whathaveyou on June 11th, 2018 by JJ Koczan

Can you frickin’ imagine C.O.C. and Orange Goblin on the same bill? I’m sorry, but that’s just awesome. Both will be supporting new records — for Corrosion of Conformity, it’s earlier-this-year’s No Cross No Crown (review here), and for Orange Goblin, the impending The Wolf Bites Back (review later this week) — and with support from Fireball Ministry, lest we forget their own new album, Remember the Story (review here), which came out toward the end of 2017 — and Black Moth, the proceedings are all the more righteous for those who’ll be fortunate enough to witness them.

As fate and clever timing would have it, C.O.C. were in the UK this weekend playing Download and they’ve got another date in Colchester tonight ahead of hitting mainland Europe tomorrow to begin a tour that includes a couple dates meeting up with Converge and a stop at Hellfest. This of course will lead to the next tour, which is another run with Black Label Society in the States following up on the one at the start of the year. That’s in July/August, then in Oct./Nov. it’s back to the UK for the aforementioned excellence alongside Orange Goblin et al. It’s been a busy year for these dudes, especially as they’ve been largely without drummer Reed Mullin, who’s been unable to tour with the band following knee surgery and is, as of the last social media post on the subject, understandably anxious to return.

The PR wire brings the latest, but really, the point here is go see C.O.C. You have the means, motive and opportunity, so make it happen:

corrosion of conformity photo by Dean Karr

CORROSION OF CONFORMITY To Kick Off European Tour This Weekend; Band Confirms Fall UK Dates + Second Leg Of North American Tour With Black Label Society And Eyehategod Nears

CORROSION OF CONFORMITY will return to Europe this weekend for a stretch of live dates set to commence June 9th and run through June 24th. The journey includes special performances with Converge as well as appearances at Download, Hellfest, Copenhell, and Graspop. In July, the band will return to North American stages to kick off the second leg of their tour supporting Black Label Society. Slated to begin July 15th, the tour will make its way through nearly two dozen cities upon its conclusion on August 11th. Additional support will again be provided by Eyehategod. CORROSION OF CONFORMITY will close their summer live takeover with a performance at Loud And Heavy Fest in Fort Worth Texas sharing the stages with the likes of Cody Jinks and Whiskey Myers! In October, the band will take on an eight-date UK headlining tour with Orange Goblin, Fireball Ministry, and Black Moth. See all confirmed dates below.

CORROSION OF CONFORMITY continues to tour in support of their critically lauded No Cross No Crown full-length, released earlier this year via Nuclear Blast Entertainment. Captured in North Carolina with longtime producer John Custer, the record marks the first studio recording with vocalist/guitarist Pepper Keenan in over a decade and, earning the #67 spot on the Billboard Top 200 Chart, #12 on the Billboard Top Current Albums Chart, and #3 on the Top Hard Music Albums Chart upon its first week of release, is the highest charting album of the band’s career.

No Cross No Crown is available on CD, digital, vinyl, and cassette formats. Various order bundles are available at nuclearblast.com/coc-nocrossnocrown.

CORROSION OF CONFORMITY:
6/09/2018 Download – Donnington Park, UK
6/11/2018 Colchester Arts Centre – Colchester, UK
6/12/2018 FortaRock – Nijmegen, NL
6/13/2018 Den Atelier – Luxembourg, LU
6/14/2018 Universum – Stuttgart, DE
6/16/2018 Konzertfabrik Z7 – Pratteln, CH
6/17/2018 Santeria Social Club – Milan, IT
6/18/2018 Orion – Rome, IT w/ Converge
6/19/2018 VAZ Hafen – Innsbruck, AU w/ Converge
6/20/2018 La Belle Electrique – Grenoble, FR w/ Converge
6/22/2018 Hellfest – Clisson, FR
6/23/2018 Copenhell – København, DK
6/24/2018 Graspop – Dessel, BE

w/ Black Label Society, Eyehategod:
7/15/2018 Inkcarceration Music Festival @ Ohio State Reformatory – Mansfield, OH *
7/16/2018 Monarch Music Hall – Peoria, IA *
7/17/2018 The Forge – Joliet, IL *
7/18/2018 20 Monroe Live – Grand Rapids, MI
7/20/2018 Bourbon Theatre – Lincoln, NE
7/21/2018 Diamond Ballroom – Oklahoma City, OK
7/22/2018 Cotillion Ballroom – Wichita, KS
7/23/2018 The District – Sioux Falls, SD
7/25/2018 The Clyde Theatre – Wayne, IN
7/27/2018 Si Hall At The Fairgrounds – Syracuse, NY
7/28/2018 Impact Music Festival – Bangor, ME
7/29/2018 The Webster – Hartford, CT*
7/30/2018 The Queen – Wilmington, DE
8/01/2018 The Mill & Mine – Knoxville, TN
8/02/2018 The Fillmore Charlotte – Charlotte, NC
8/03/2018 Phase 2 – Lynchburg, VA
8/05/2018 The Norva – Norfolk, VA
8/07/2018 Rebel – Toronto, ON
8/08/2018 Metlus – Montreal, QC
8/09/2018 Sherman Theater – Stroudsburg, PA
8/10/2018 Paramount – Huntington, NY
8/11/2018 Starland Ballroom – Sayreville, NJ
8/18/2018 Loud And Heavy Fest @ Panther Island Pavilion – Fort Worth, TX w/ Cody Jinks, Whiskey Myers

w/ Orange Goblin, Fireball Ministry, Black Moth:
10/26/2018 Engine Rooms – Southampton, UK
10/27/2018 02 Institute – Birmingham, UK
10/28/2018 Rock City – Nottingham, UK
10/30/2018 Ritz – Manchester, UK
11/01/2018 02 ABC- Glasgow, UK
11/02/2018 Plug – Sheffield, UK
11/03/2018 The Great Hall – Lardiff, UK
11/04/2018 02 Forum Kentish Town – London, UK
* No Eyehategod

CORROSION OF CONFORMITY is:
Pepper Keenan – vocals, guitar
Woodroe Weatherman – guitar
Mike Dean – bass, vocals
Reed Mullin – drums, vocals

http://www.coc.com
http://www.facebook.com/corrosionofconformity
http://www.twitter.com/coccabal
http://www.nuclearblast.com
http://www.facebook.com/nuclearblastusa

Corrosion of Conformity, “The Luddite” official video

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Orange Goblin to Release The Wolf Bites Back this Summer

Posted in Whathaveyou on February 28th, 2018 by JJ Koczan

London doom rock magnates Orange Goblin have set a summer release through Spinefarm Records for their anxiously awaited new album, The Wolf Bites Back. The UK scene kingpins entered the studio little more than a month ago to begin the recording process with Jaime Gomez Arellano at the helm, and while that alone might lead one to expect a continuation of the more metallic side of the band that surfaced on their last studio record, 2014’s Back from the Abyss (review here), the simple fact that here we are about five weeks later and the new album is done, named and announced speaks to what must have been a pretty organic recording process.

Anticipation is high for the next Orange Goblin, to be sure, and with a summer release, the band already have live dates announced to support The Wolf Bites Back, including suitably high-profile appearances at Hellfest in France this June and Summer Breeze in Germany this August.

As posted on the social medias:

ORANGE GOBLIN DAVID BOULONGNE

ORANGE GOBLIN – NEW ALBUM NEWS – THE WOLF BITES BACK!

ORANGE GOBLIN have finished work on their upcoming new album and are preparing for its summer release.

The legendary British rock band holed up at Orgone Studios with producer Jaime Gomez Arellano (Ghost, Grave Pleasures, Paradise Lost, Cathedral) to create their latest opus, titled ‘The Wolf Bites Back’. The resulting nine track album will be the band’s ninth studio release and will be released via Candlelight/ Spinefarm Records worldwide.

Vocalist, Ben Ward, commented “We are very excited about this new album. The Wolf Bites Back is our strongest and most diverse collection of songs to date, it’s certainly a lot darker both musically and lyrically. It is still definitely a distinct ORANGE GOBLIN album but we have incorporated a lot more variation on this record and there are hints of Can, Captain Beyond, Wishbone Ash and The Stooges nestling amongst the obvious Sabbath and Motorhead influences. Lyrically I have explored everything from alien serial killers to zombie biker gangs, Buddhist warriors through to descendants of the Salem witches!”

“There was definitely a concerted effort to make sure all the songs could work in a live environment which gives the album a more raw, stripped back feel – something that I feel has been lacking from good rock and metal in recent years. Working with Jaime Gomez Arellano was really productive and a great experience, especially going back to tracking stuff to tape. I feel that he got the best out of all of us as musicians and songwriters and that really comes across in the songs, there is an air of confidence and experience. It was also a real honour for us to have Phil Campbell of Motorhead lending his hand to a couple of solos on there too!”

The full track list and artwork will be released at a later date, but the band have confirmed titles such as Sons of Salem, Ghosts Of The Primitives, Burn The Ships, Zeitgeist and Suicide Division. Artwork will be created by Roland Scriver at Familiar Ink.

The Wolf Bites Back is scheduled for a June 2018 release.

Orange Goblin live:
Mar 31 – Paaspop, Schijndel, NL
Apr 07 – Durbuy Rock Fest, Durbuy, BE
Apr 27 – Impetus Fest (@ Le Docks), Lausanne, CH
May 04 – Planet Club, Rome, IT
May 05 – Dagda Club, Rotorbido, IT
Jun 16 – Stone Free (@ o2 Indigo), London, UK
Jun 23 – Hellfest, Clisson, FR
Aug 11 – Alcatraz Metal Fest, Kortrijk, BE
Aug 18 – Summer Breeze, Dinkelsbuhl, DE
Sep 08 – Summer Dying Loud, Aleksandrow Lodzki, PL

https://www.facebook.com/orangegoblinofficial/
https://twitter.com/OrangeGoblin1
https://www.instagram.com/orangegoblin1/
http://www.orange-goblin.com/
https://www.facebook.com/spinefarm
www.spinefarmrecords.com/

Orange Goblin, Live at Desertfest Athens 2017

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