I’m very pleased to talk about this album today. It’s kind of special to me for many reasons.
I’ve been following the achievements in the career of Orange Goblin, since I discovered them in London back in 1998. I was positive thinking eventually they’d become great and respected, and time has proved I was right.
Remember the first small talks I had with some of the members of the band, asking me to attend their first headlining shows, scared to death considering the possibility of playing in front of a non existing audience. Almost 14 years have passed since those times, when they used to open for all the classic stoner bands which were bringing out in those years becoming an established music style nowadays is followed and worshipped by large audiences.
Eulogy For The Damned means a turning point in the career and also in the lives of the members of this band. Ben, Joe, Martyn and Chris have finally made it. They’re quitting their Monday to Friday jobs to dedicate in body and soul to what they do best: (metal) rock.
Considering the harsh times we’re currently passing through, such decision is a hard and risky one, but again, with Eulogy For The Damned as their best card to start playing the pro game, again I reckon everything will be alright for them and they’ll succeed in this substantial change, positioning Orange Goblin on top of doom-stoner-metal-rock (your choice how to label them) list of bands.
7 albums and 15 years have marked the evolution of the band. From the more standard stoner sounds and the obvious influence of 70’s metal Black Sabbath and psychedelic Monster Magnet registered in Frequencies From Planet Ten, to the severity and strength of Eulogy, there’s been a long path, but seems that the band has finally achieved their own sound and personality, and damn! It’s overwhelming!
The album is very dynamic, with songs differing in rhythm and moving through different styles. Probably one of the reasons I like Eulogy the most, it’s because even though they keep in the same line of doom-stoner, the truth is that they’re allowing their classic 70’s metal and hard rock influences to become more prominent in their sound. Guitar riffs and bass lines in Return to Mars and Bishop’s Wolf are pure vintage.
Red Tide Rising is pure dynamite as the starter of the album, and this fuse last for the 4 first songs, up to one the coolest songs in the album I regularly play at my dj’n nights, The Filthy and the Few, to slow down with the groovie Save Me From Myself.
But it’s the album titled song which drives me crazy, A Eulogy For The Damned. It’s fuckin’ epic! Remembering Black Sabbath’s classic albums, here too, the song which makes the difference fits perfect for closing the album so that the listener will always want more.
In terms of production, this album involves the best sound quality by far. It’s powerful, definitely an upper, and everything sounds balanced and clean: Joe’s guitars are killing, Ben’s vocals sound finally as strong and heavy as they deserve, showing also an evolution in phrasing and more interesting melodies patterns. But this time drums catch most of my attention. I’ve always been a great fan of Chris‘ style, in fact he’s been one of my favorite drummers for many years. Final result of the production of Eulogy allows me to identify the different parts of drums, the recording of layers, the cymbals, the double drum pedal parts…his stomping is brilliant, rhythmic and accurate.
Ass kissing is not my style, and even though my point of view might seem a bit subjective, having in mind these guys mean lots to me, at the end of the day, the actual starting point of everything was their music, which caught my attention right away and has been constant through all these years. A Eulogy for the Damned is a thrilling album for any rock-metal-hard rock lover, intense, livid and passionate. Since the very first hearing I thought this one was the one, and the more I listen to it the more convinced I am. It deserves all the credit possible and I feel proud of the Goblins for having delivered such a great album.