ALBUM REVIEW: Ramagehead – O.R.k

To look back into the back catalogue of the members of O.R.K you’ll find a masterclass in prog (especially from bassist Colin Edwin of PORCUPINE TREE and drummer Pat Mastelotto of KING CRIMSON) and frontman Lorenzo Esposito Fornasar has roots in soundtracks, producing, avant garde and even experimental doom. So the roster is strong, this should be a winning combination for a weird and wonderful progressive rock album, alas it falls just short of that. So why does O.R.K’s third outing, Ramagehead leave us so wanting?

The record undoubtedly starts strong with demonic riffs accompanied by acoustics flickering around them on Kneel To Nothing as LEF drops into a huge chorus with the cries of “Show Me Heaven”. The song builds to a hellish sermon-like climax with droning synths edging it on. This however is the most momentum O.R.K pick up throughout the entire album. It’s immediately halted by the acoustic intro of Signals Erased, another strong track which has a massive prog explosion of a variety of spacey and grunge guitar work after it’s gentle upbeat intro. It would have made a great intro track as it builds but doesn’t really lead into another big track. Had the first two tracks been swapped it would have flowed nicely, instead after the build up Signals Erased we’re dropped into another gentle acoustic section.

This is where we find the problem with the nature of Ramagehead, it’s constantly feels like it’s stopping and starting. Great acoustic tracks will often rope the listener into the expectation that something big is coming only to deliver another track that takes you back to point A. The album has a strange flow, if any at all. Whereas excellent prog albums will weave songs into each other Ramagehead just keeps throwing mid paced build ups at you with very little pay off. It’s like slow film where the big finish keeps getting pushed back with scenes of dialogue.

They’re not bad songs, they’re very well played. LEF delivers brilliant vocals sounding like a bizarre mix of Chris Cornell and Devin Townsend with some more classical prog influences thrown in there. The guitars sound great, whether they’re delivering acoustic grace or winding constructive riffs. There’s also beautiful smooth bass tones carrying this thing along. SYSTEM OF A DOWN’s Serj Tankien even makes an appearance on Black Blossoms and giving you the spots you’d expect from him, the softly sung intros and the balls to the walls operatic moments. But these decent performances feel in vein on an album which struggles to catch the attention or lead to any major pay off.

The songs on their own are fine, but as a whole this album never really finds its way. The predecessor to Ramagehead, 2017’s Soul Of An Octopus, threw a bit more at the wall as was more unidentifiable and it still had a lot more fun and enjoyable moments on it. It also succeeded where Ramagehead falls short. Once Soul Of An Octopus ended it felt like you were in a different place than when it began, and you had experiences on the way. It took you on a journey like all good prog records should, Ramagehead however barley gets out the driveway to start the expedition.

Rating: 5/10

Ramagehead is out now via Kscope.

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