Orden Ogan – Gunmen – Album Review
Artist: Orden Ogan
Album Title: Gunmen
Label: AFM Records
Date of Release: 7 July 2017
This is getting embarrassing. Over the past couple of decades, I have built up what I would like to think is a fairly extensive and varied knowledge of vast swathes of the heavy metal world, even occasionally veering into rockier territories where appropriate. However, it wasn’t until I started writing music reviews for myself rather than a national publication that I have begun to realise how much more there is out there that has completely eluded me. It’s actually quite staggering and a little overwhelming if I’m honest.
And today, I bring you the latest band that has been a completely new revelation for me, namely Orden Ogan. I am familiar with the power metal and melodic metal genres, liking much within them. But German outfit Orden Ogan never crossed my path. Until now.
But hey, I thought, it’s not like they have been around for that long, is it? Oh, 20 years? Damn. Three demos and five previous studio albums? Damn and drat. Oh well, let’s not dwell on my failings, let me try to put things straight at the earliest opportunity, for Orden Ogan have made an impression on me that is extremely positive.
Based on the evidence of ‘Gunmen’, the Teutonic quartet comprised of guitarist/lead vocalist and last-remaining founding member Sebastian ‘Seeb’ Levermann, guitarist Tobias Kersting, bassist Niels Löffler and drummer Dirk Meyer-Berhorn are likely to quickly become a firm favourite of mine in the power metal world. Naturally, genre pigeon-holing can be precarious but Orden Ogan are easier than most; this is unashamed power metal with all the trimmings and a few fleeting elements of other influences, namely folk metal and symphonic metal.
What hits me right off the bat with the dark Wild West-themed ‘Gunmen’ more than anything else, is the way in which they create genuinely epic-sounding music. More specifically, it is the choruses on this album that make the biggest impact. And it’s an immediate impact. Some bands will pretend to create bombastic and epic music but Orden Ogan properly succeed. Layers of keyboards, synths and choirs combine with the more metallic aspects of their sound to produce a soundtrack that is rousing and one that cannot fail to stir even the coldest of hearts. The choruses throughout this record are huge, addictive beasts that I have listened to on repeat several times without them losing any of their ardour. In fact, in many cases, they just get better.
The opening one-two comprised of the title track and ‘Fields Of Sorrow’ is easily one of the most powerful and attention-grabbing beginnings to a record that I have heard from a power metal band in many a year. ‘Gunman’ is a highly-charged thrill-ride from the opening hefty guitar notes and orchestration, right through to the sound of a firing gun to signal its end. In between, we get a combination of stomping and galloping metal riffs, melodic lead guitar licks, a ferocious rhythmic backbone and one of the biggest and most glorious choruses you’ll hear for quite some time. I adore the groove that accompanies the chorus and even the ubiquitous lead guitar solos that crop up toward the end are a great blend of shred and melody. Atop it all are Levermann’s vocals, which I am drawn to thanks to his gritty and deep tones.
By contrast, ‘Fields Of Sorrow’ is a much darker number and generally more mid-tempo than its predecessor. It kicks off with a seriously cool riff that reinforces my opinion that this record is blessed with some superb guitar tones and a production that more than adequately does it justice. Once again, the chorus is where the music goes from great to sensational. It is a sombre affair but remains highly addictive and huge in scope. The pummelling double-pedal drumming that underpins the chorus is a lovely touch, too, adding further gravitas to proceedings.
It would be difficult for most bands to follow up such an impressive opening and indeed, if I’m being completely honest, I’m still of the opinion that these two cuts, aside from the final song ‘Finis Coronat Opus’ are the strongest on ‘Gunman’. However, what follows is still very good indeed and almost all of the eight subsequent songs have something about them that warrants my admiration. I dismissed ‘Vampire In Ghost Town’ out of hand on a first listen because it came across as just a little too cheesy and the lyrics felt a little silly. But now, I can’t help but love it, principally because, despite the silliness, it remains a well-crafted heavy metal song with meaty riffs, catchy melodies and yet more powerhouse rhythmic flair, a strong recurring feature throughout the album.
The soothing, acoustic opening of ‘Come With Me To The Other Side’ is accented by the soft tones of ex- Leaves Eyes vocalist Liv Kristine, who appears at points elsewhere within a song that has a balladic feel to it, but does not dial down the bombast and metallic elements to compensate. Instead, it becomes a bona-fide symphonic anthem, with a vaguely progressive edge given its many varied components.
It is this variety overall that makes ‘Gunman’ such a rewarding listen and one that doesn’t quickly become one-dimensional and boring. The output remains firmly in the power metal camp, but within this framework, I get the impression that the quartet wanted to experiment a little bit. As such, in addition to the aforementioned tracks, we get s like ‘Down Here (Wanted: Dead Or Alive)’ with its dramatic cinematic overtones and the brooding, stomp of ‘One Last Chance’, where the heaviness is marked and wouldn’t be out of place in other more extreme metal genres. It goes without saying that the chorus is another delicious affair here too.
Closing track, ‘Finis Coronat Opus’ is the longest on ‘Gunman’, nearly nudging the nine-minute mark. Personally, I can’t think of a better way for Orden Ogan to end this epic record, than with their most epic composition. It plays around with light and shade and pacing to great effect, injecting just a touch of prog and then dials everything else up to 11. The chorus is gargantuan, the riffs are superb and the bombastic symphonic elements are a real joy. There’s a sombre tone to the song but a sense of hope and positivity comes through as it draws to a close.
There is no doubt in my mind that ‘Gunmen’ will end the year as one of my favourite power metal albums. It exudes quality from every pore and has been a genuine revelation for me. I will explore the back catalogue for sure but for now, I just need to prise ‘Gunmen’ out of my stereo…and that might prove harder than I first thought.
The Score of Much Metal: 8.75
If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:
Iced Earth – Incorruptible
Anathema – The Optimist
Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day
