OK lets get it out of the way quickly, ORB sound a lot like Sabbath. I mean they have the early catalog on full repeat, day and night. They’re feeling the doom of Iomi and the dread of Osbourne in their marrow. But, you know what, screw it, they’re doing it right. If you’re going to go down the Sabbath rabbit hole, you better know how to handle that gas mask groove and you better be able to bring the low end like a boot to the neck. In that respect, this Geelong gaggle are doing doom-psych like it was their birthright. They stretch it out, kick up the maggots below the soil and don’t make this feel like a night at headbanger’s karaoke. They know that the speedier sections of Paranoid were fun, but the times when the band touched on prog, that’s when they were gathering the true clouds of doom. ORB has been behind the wall of sleep and they’ve dug up the bodies buried there.
It doesn’t hurt that Birth comes with a triple (quadruple?) pedigree backing it up. The man behind ORB is Zak Olsen, also of Geelong punks Hierophants and the album was recorded by Aussie heavy Mikey Young (Eddy Current Suppression Ring), putting his stamp on the sound and shattering the very last bong in your cabinet with van rattling authority. He then kicks it over to King Gizz’ label Flightless on the home turf and completing the circle, its found a home at Castle Face in the US. This thing’s been making eyes at your girlfriend for the last twenty minutes and its moral compass is merely waiting for you to get up for a beer before it slinks in like the creep asleep in the back row of your Trig class. Shit, its a wonder this thing doesn’t come loaded in a shag shrouded package with pop-up quadraphonic. Essentially this album is the living embodiment of the second Bassmobile and that’s alright by me.
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