Geelong, Victoria, Australia’s ORB have been honing their brand of heavy rock for roughly a decade. After a new release gap of six years, their fourth LP Tailem Bend is their most expansive undertaking yet. Less doom-laden than prior efforts, the fuzz and pummel are still part of the equation. The band’s first for the Fuzz Club label (Flightless Records continues to handle duties in their native country) is available now on vinyl, compact disc, and digital.
Formed by guitarist-bassist-vocalist Zak Olsen, guitarist-bassist David Gravolin, and drummer Jamie Harmer (all ex-Frowning Clouds), ORB debuted with the 5-track cassette EP “Womb” in January 2015 (reissued by Flightless on wax in 2022), followed in October of the year with the “Migration” 7-inch (offering two versions of the song, one of them featuring the recording input of Aussie mainstay Mikey Young).
“Womb” was issued as a demo prelude to ORB’s first album Birth, which came out in June of 2016 with key North American distribution through the Castle Face label. Trying to assess ORB at this stage minus the influence of Black Sabbath is like attempting to imagine John Waters without a moustache. It’s impossible.
Released in October 2017, Naturality broadened their approach toward psychedelia (and an increased use of synths) without sacrificing the distortion and thud. Hitting the store bins in September of 2018, The Space Between held steady; for much of the set, the outward bound tendencies and the heaviness were more fully integrated. And then came the hiatus, though ORB has been playing live, often with King Gizzard and the Lizard Wizard, in 2021.
Tailem Bend’s opening title track begins with some exploratory abstraction before bursting forth and laying the hammers down. They establish a solid groove, pick up the pace, get a little funky, explode once more, and then wind it down with aplomb. Any specks of rust have been shaken loose. And then “Karma Comes” promptly redirects into ’60s Brit psych-pop territory a la Syd circa Piper at the Gates of Dawn, but smartly not imitative.
“Can’t Do That” ramps up the distortion for a stoner psych gallop with touches of Blue Cheer, Krautrock, and even late period Doors. Next is the jazz-rocky atmosphere of the rolling “Golden Arch,” complete with flute, that never fully tips over into prog. “Skyclock” begins side two with a dip into the ’70 piano-driven pop pool with a hint of post-Dark Side Floyd in the mix.
“You Do” is another up-tempo funky excursion, while “Morph” delivers Tailem Bend its heaviest moments. And just when it seems that doom is no longer part of the scheme, for the record’s finale, “Commandment” slows it down and brings the thud while retaining the psych aura that permeates the set.
Even with this latest jump in growth, ORB are still pretty far from breaking new stylistic ground. But really, originality isn’t the point. It’s about getting the sound right, and no longer primarily influenced by one band or style, they do so consistently on Tailem Bend.
GRADED ON A CURVE:
B+
