The Wolf Bites Back - Orange Goblin

The Same old story

"The Wolf Bites Back" is a bag of mixed sweets with lots of potential that unfortunately never quite gets redeemed. Orange Goblin could very much benefit from a producer that could help to cut the songs to, and stay focused on it, that works. The Wolf Bites Back is, therefore, the same story of a mighty band, and the big breakthrough, there are enough still lets wait.

Breakthrough lets wait for itself

The English stoner metal veterans Orange Goblin has recently posted their 10. response on the street, and impressive enough, with the same four members since their debut in 1997. Lead singer Ben Ward, guitarist Joe Hoare, Martyn Millard on bass and drummer Chris Turner are all talented musicians, and play supertight. Besides it, they have both the sense of cool hooks and great melodies and is a really well-functioning live band. It may therefore well wonder, then, that all the talent has never been completely redeemed, and a genuine breakthrough has been late in coming. Maybe The Wolf Bites Back plate, which changes in it?

Hard rock, blues, southern rock and a little stoner metal

In recent years, Orange Goblin slowly put the style a bit, so that there is less stoner and more hard rock of their releases, and it is also here at The Wolf Bites Back. The album starts right on with the "Sons Of Salem". A trommeintro, a hefty riff and a chorus that catches you with the same. The second cut, the title track "The Wolf Bites Back" starts with a quiet acoustic foreplay, slowly supported by a rolling bass line, soon to be interrupted by yet effective guitar riff. On the chorus play the cells are close together with lead singer Ben Ward's coarse vocals, and it works really well.

"Sword of Fire" consists mainly of a heavy and epic riff, reminiscent of both Led Zeppelin and Deep Purple ("Kashmir" and "Perfect Strangers", for example), even if the song suddenly, and a little gratuitous changes character to a more uptempo, hard rock number. This number, which starts promising, but ends up as a damp squib, revealing, unfortunately, once again problems with Ben Ward's vocals and his rather limited register. You miss a Robert Plant or Ian Gillan to support the epic and lifting the song up to unimagined heights, and the skills, Ward has not.

On the "Ghost Of The Primitives" we are more over in something Lynyrd Skynyrd-like southern rock that swings great and once again shows that this band can guys it with the best, when it is running for them. But again switches the orange goblins track faster than you can say 'Banestyrelsen', and the song slides back into the typical british hard rock. Not that there is anything wrong with it, but why not bring the ideas more to life? On the "Ghost" when they just throw a funky, fuzzboks-dominated guitar solo, which fits perfectly with the intro, but less well with the rest of the number. "Suicide Division" sounds most like a Motörhead tribute - it is now mandatory that all british bands MUST remember to pay homage to Lemmy at any given opportunity. Tiring.

On "The Stranger" is it finally time for a downtempo blues, and the master Orange Goblin quite a fermt. Therefore, it can wonder that, once again, simply can't keep track, about halfway set the pace completely unnecessary up again. When solo returned his debut, set the pace once again down, and it is, frankly, again a mess.


>> Check the songs and lyrics here