Album Review: Orange Goblin, Science, Not Fiction
It’s a rare band that one might call hungry 10 records into a nearly-30-year career, but as Orange Goblin return with their first LP in six years, Science, Not Fiction — also their label-debut for Peaceville Records — they transpose the more metallic aggression that typified 2018’s The Wolf Bites Back (review here) and 2014’s Back from the Abyss (review here) onto a production sound more decisively rooted in heavy rock and roll. As a result, not only do songs like the declarative opener “The Fire at the Centre of the Earth is Mine” — which gives making-his-first-on-album-appearance bassist/backing vocalist Harry Armstrong, who joined in 2021, the honor of starting off after a few seconds of threatening rumble — or “(Not) Rocket Science,” the classically Motörheaded “Cemetery Rats,” “The Fury of a Patient Man,” the penultimate “The Justice Knife,” and so on, pummel you into the ground, but they do so with an overarching vibe as natural as the dirt you’re about to eat.
Armstrong, guitarist Joe Hoare, drummer Christopher Turner and vocalist Ben Ward recorded with producer Mike Exeter — who also mixed (Peter Hewitt-Dutton mastered) and notably worked on Black Sabbath‘s 13 album as well as several other catalog releases from doom’s forebears, has helmed outings for latter-day Judas Priest, etc. — and are well served by the character and shape of the resulting sound, which is less about isolating each element in its own everything-else-muted waveform than bringing together the entirety with as much force as possible. And if it needs to be said, in Orange Goblin‘s case, there’s a lot possible.
That’s not to say Science, Not Fiction — and as someone who appreciates a well-placed comma, the title is all the more admirable for the heavy lifting it does in framing the perspective of the lyrics to pieces like “(Not) Rocket Science” and “False Hope Diet” — is all thrust. Since 1997’s Frequencies From Planet Ten (discussed here), Orange Goblin have been about a more dynamic take on songwriting, and however much they might be defined here by charge, Science, Not Fiction is characteristic in its ability to change it up around that, whether that’s manifest in the midtempo groove of “False Hope Diet” — which is the longest inclusion at 7:13 and a duly grim assessment of the current age echoing the watch-the-world-melt/we’re-all-screwed-and-it’s-our-own-fault point of view in “The Fire at the Centre of the Earth is Mine” — the piano introducing “Cemetery Rats” or the breakdown in closer “End of Transmission,” which feels as self-referential in its near-psychedelic divergence as in the namedropping of past full-lengths.
But even these moments carry the tension of the surges and gnashing around them, and while the band aren’t shy in telegraphing their own intensity amid the swinging slowdown in the nod beneath the somehow-motivational layered shouts in the second half of “Ascend the Negative” — lines like “Reclaim your time, reclaim your mind, conquer negativity” feel a bit like Ward self-coaching through his well-publicized experience of getting sober (nothing against that, of course) but are ultimately too intelligent to fall into a St. Anger-style trap of therapist-delivered cliché maxims — just because you know the next punch is coming doesn’t make the bruise any less purple afterward.
Indeed, across the 53-minute entirety of Science, Not Fiction‘s deluxe edition, which includes the bonus track “Eye of the Minotaur,” one finds Orange Goblin doing nothing so much as owning who they are through reaffirmations of perspective, craft and character, and the challenge being issued is more inward than out. That is, they’re pushing themselves to hit their own high standards, whether that’s in capturing the sweeping energy of who they are onstage (in which I’d argue they’re successful) or in the level of songwriting that lets “Gemini (Twins of Evil)” feel so fluid in the groove it rides while remaining memorable (despite being tucked into on side B with “The Justice Knife,” away from ‘focus tracks’ like “(Not) Rocket Science” and “The Fire at the Centre of the Earth is Mine” at the album’s outset.
All of it is quintessential Orange Goblin, from the hook “It’s not rocket science and we’re doing alright” — one wonders who the “we” is there; if it’s human beings generally, the point is arguable; if it’s the band itself, kudos on the humility since by that time, about seven minutes into the record, they’re kicking a fair amount of ass — to “This isn’t over/We’ve got the devil’s work to do” in “Gemini (Twins of Evil).” And while the boundary pushing that comes through feels born of uniting past and present styles, this too feeds into the idea of Orange Goblin declaring themselves, taking uncompromising ownership of who they are as a band, and putting it directly in the face of those fortunate enough to listen.
No doubt some of those will be newcomers to the band, whether that’s listeners beginning to make their way into the heavy underground or those who up till now just haven’t taken them on. In that regard, the vitality of Science, Not Fiction seems primed to serve as a righteous introduction to what Orange Goblin do in uniting metal, punk, heavy rock and various other substyles under those umbrellas. The reference to past work in “End of Transmission,” or maybe even the way it shifts into an early-’90s-style brooding spoken part after the midpoint, would surely find its impression enriched in the context of prior releases, but I’m not sure that hurts the basic listening experience of the song taken on its own merits so much as it might add another layer of appreciation after the fact.
And if you wanted to show someone what Orange Goblin are about, cuts like “Cemetery Rats,” “The Fire at the Centre of the Earth is Mine,” and “False Hope Diet” represent them at their absolute best, as veterans who may have moved beyond youthful arrogance but still have something to say and a suitable propulsion with which to say it. Because of this, it matters little if Science, Not Fiction is your first Orange Goblin record or if you tape-traded the Our Haunted Kingdom demo in 1994; they sound fresh, excited and exciting in these songs in a way that can only be considered definitive. They are unmistakable, and this album is a welcome example of why.
Orange Goblin, Science, Not Fiction (2024)
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Tags: London, Orange Goblin, Orange Goblin Science Not Fiction, Peaceville Records, Science Not Fiction, UK
Just finishing up with “End Transmission,” and I heartily agree, one of the definitive Goblin albums. Your review was well researched and extremely edifying.
To OG: Glad you took your time, gentlemen; well done. See if you can get back to us a little quicker.
great review, great album