Album number five from the band—featuring Colin Edwin (Porcupine Tree) and Pat Mastelotto (King Crimson)—is another supremely classy effort that blurs any boundaries that exist.
The opener, “Blast of Silence,” is instead a blast of riffs, and there’s something of Chris Cornell in the roar of the vocals on “Hello Mother.”
O.R.K. has always carried a raw energy, and their prog-metal stylings are anything but flabby. They are, however, unafraid to disappear down arty rabbit holes where most bands would not. The harmonies of “The Other Side” have a grandiose quality, yet the song never loses its visceral edge.
The fragile opening of “16,000 Days” has a haunting quality as it builds into a maelstrom. “I’m afraid to fall asleep,” sings Lorenzo Esposito, and the song’s nightmarish aura makes that fear palpable.
“PUTFP” is heavy—oppressive, even—like a layered puzzle you should only peel away if you dare. But it also weaves in acoustic passages and the repeated plea, “Don’t let me down,” which feels more like a dire warning than a request.
“Seven Arms” grooves, while “Beyond Reach” channels a Tool-like vibe (their guitarist, Adam Jones, has worked with O.R.K. in the past). The result is cinematic yet ultimately unsettling.
Mastelotto’s drumming is incredible throughout, but the solo from Carmelo Pipitone on “Mask Becomes the Face” is, quite frankly, worth buying the album for alone.
As is often the case, the album closes with a proper epic. “Dive In” veers from folk to tinges of jazz, as if the band completely let themselves go in the moment.
What it also does is tie up the loose ends while proving just how talented this band is.
The acoustic section halfway through is delivered with such skill that it’s clear—O.R.K. could have been anything they wanted to be.
What they are is as brilliant as they are innovative, as skilled as they are accessible. And here’s a truism about Firehouse of Falsehoods: it’s absolutely brilliant.
Rating: 9/10
REVIEW: O.R.k – FIREHOSE OF FALSEHOODS (2025)
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