Review: Orange Gobline @ Lion Arts Factory
"We’re just Orange Goblin and we do whatever we think sounds good.”
Words by Will Oakeshott ⎮ Images by Mark J. Panizza & Danny Wallace
"We’re just Orange Goblin and we do whatever we think sounds good.” Vocalist Ben Ward of Orange Goblin, Kerrang, April 5, 2024.
After nearly 30 years of crafting their distinctive version of diversified stoner and doom metal, London’s Orange Goblin knows what works for them. The quote utilised at the start of this article is about the quartet’s soon-to-be-released 10th studio album entitled, Science, Not Fiction.
As per Ben Ward, this new LP finds the four-piece extraordinarily expanding their heavy rock repertoire once again to include guidance from The Beatles, King Crimson and Pink Floyd, but it is still unequivocally them. Before this nine-track monolith deafens the metal universe in July however, OG were required to brilliantly bully the southern hemisphere with their wonderfully wicked heavy metal. With nearly three decades of experience behind them, the hundreds present at Lion Arts Factory certainly agreed that the brawny Brits still ‘sound good’.
Sydney duo Astrodeath defy logic. It is practically nonsensical how much noise they generate from just the two men in the outfit. What is more perplexing is that it isn’t simply the methodology of Tim Lancken (guitar/vocals) and Yoshi Hausler (drums) smashing their instruments as hard and fast as possible, even though that is a part of their charismatic cacophony. The two-piece undeniably have a rocking refinement with their formula. It is nearly impossible to condense their thrashing stoner metallic punk rock into a proper description, however, if you could imagine Queens Of The Stone Age covering Mantar songs with the energy of Royal Blood, that might provide some guidance to their immensity.
‘Ceremonial Blood’ captured this illustration in a rather amazing adventure that incorporated Black Sabbath-inspired stoner rock moments, Voivod thrash intensity and then some truly captivating Cave In alternative metallic hardcore moments. ‘Mountain King’ was just as colossal, presented as the offspring of Slayer and Doomriders in the body of a magnificent mutant, but with a sense of humour also guiding their musical character. Frontman Lancken is quite the personality onstage (and off), constantly running around with childlike wonder and happily sticking his tongue out during his wild head-banging expressions, ensuring his mullet achieved Vidal Sassoon imagery. The numerous attendees were unquestionably won over and it was difficult to grasp that Astrodeath were in fact the opening act for this event.
When Krusty the Clown’s version of ‘Send In The Clowns’ was played as the introduction song, it instantly seized the attention of the audience in a confusing yet gleeful manner. This was then heightened when the four members of Melbourne's Dr Colossus entered the stage dressed as representatives of the secret parody organisation the Stonecutters. If the readers have not quite grasped what this quartet is about, in a quick summary, Dr Colossus is a stoner doom metal band whose entire being is committed to The Simpsons.
Opener ‘Mono’ was a gloom-ridden drone journey that Pallbearer would have relished, and to confirm, it is a track inspired by the Monorail episode of the sitcom. ‘Future Bart’ was a dreary affair that may be somewhat accurate to the animated antagonist’s coming times. ‘Pickabar’ had an uplifting rhythm and hints of Saxon filtered through the comic track (committed to the episode where Homer forgets to pick up Bart from soccer practice), then ‘Sixty-Six & Six’ came across like Metallica’s ‘The Unforgiven’ but sung by Bob Catley in a tribute to Ned Flanders.
‘Because Of The War’ injected more vitality into the exhibition, possibly due to the lack of onions tied to everyone’s belts, which is not the fashion at this time. ‘So Long Stinktown’ closed the extravaganza, which combined Red Fang with ASG motifs and 64 slices of American cheese.
Credit to bassist Dr. Love (Mike Findlay) for arguably having the best embarrassing teacher/uncle "uncool but so cool" stage presence in doom metal and Rest In Power to Nathan Johnston always.
‘It’s A Long Way To The Top (If You Want To Rock’n’Roll)’ rings out through the Lion Arts speakers. The spectators join in with a singalong of the AC/DC hit, persuading London’s stoner metal luminaries Orange Goblin to the venue’s platform. Frontman Ben Ward’s presence is instantly imposing, he gives a thumbs up and the devotees packed in the main room are ready for Orange Goblin’s ‘Healing Through Fire’ on a Tuesday evening.
‘Scorpionica’ begins the escapade with its stomping tempo that eventually slows to a Jimi Hendrix stimulated haze; guitarist Joe Hoare effortlessly bewitched all present with his sensational solo. ‘The Filthy And The Few’ sped everything up which the onlookers revered and rocked out to; ‘Round Up The Horses’ accentuated this, yet its amazing ambition in fluctuating the soundscape of doom metal acted like chapters in a fantasy tale and became hypnotic rather marvellously.
‘Aquatic Fanatic’ was astronomical and a performance that Tom Morello would have assuredly respected. ‘The Time Travelling Man’ was somewhat ironic in the sense that the four-piece were doing exactly that, yet they were playing as if they were musicians half their age. ‘Sons Of Salem’ was pummelling in short summation, and to let Adelaide catch their breath, the quartet performed their new single ‘(Not) Rocket Science’, which is, in all probability, the catchiest song the British metallic madmen have composed. ‘Some You Win, Some You Lose’ is possibly one of the best pub punk metal anthems constructed and it wasn’t too surprising that the kegs were running dry at the venue with this exhibition.
‘The Devils Whip’ put South Australia into a whiplash, or whip-thrash, as it was of Anthrax's magnitude, then instead of performing the stage exit to encourage the crowd to ask for an encore, OG unveiled a “non-core” that closed with ‘Red Tide Rising’. A favourite in their expansive discography that acted as a unifying bond for everyone present in the room.
"We’re just Orange Goblin and we do whatever we think sounds good.”
Orange Goblin irrefutably still does sound exactly like that.
