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Psychedelic/Space Rock • United Kingdom

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Orange Clocks biography
founded in Rushden, Northamptonshire, UK

ORANGE CLOCKS is a space rock outfit from the United Kingdom with two guitarists Dan Merrils and Stuart Paterson in the ranks, as well as Derek Cotter (bass), Tom Hunt (synths), Lee Jones (synths) and drummer Burn.

They create textured psychedelia by improvising hypnotic noise with driving rhythms and unusual concepts. Wigged-out guitars, swirling synths and a pounding rhythm section combining in perfectly crafted space rock anthems which will delight any fans of Hawkwind and Gong.

Their experimental concept debut album 'Tope's Sphere 2' is a huge collection of shorter music snippets and narrations. They could present the songs and record the whole show at the Sonic Rock Solstice festival in 2018, which was self-released soon after. Consisting of more song oriented material the acclaimed studio album 'Metamorphic' followed in February 2020.

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0.00 | 0 ratings
Tope's Sphere 2
3.03 | 4 ratings

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Live At Sonic Rock Solstice 2018

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Showing last 10 reviews only
 Metamorphic by ORANGE CLOCKS album cover Studio Album, 2020
3.03 | 4 ratings

Orange Clocks Psychedelic/Space Rock

Review by alainPP

3 stars ORANGE CLOCKS is a group releasing their third album at the start of the year, including a live performance in 2018. They play in "space rock" with a little "dark wave" sounds at times. Their first CD took up the BOF from a 70's Klementine Uhren series and went far to lands that HAWKWIND, GONG or OZRIC TENTACLES had deciphered. Thomas the master thinker is releasing here an album in two genres, 6 short and angry tracks and a much more offbeat piece, a new sound for this group.

"Space Within" attacks with a hovering track but also bewitching and energetic, crazy rock experimentation and big wavy guitar sound, as on the heaviest tracks of Robert FRIPP. "Eye Of Psybin" continues on a simpler tune from the intro, until the beginning of the chorus, and there it becomes plaintive, poised, languid, psychedelic; the synth allows musical oppression to form while the well-emphasized drums give off a heavier sound. A bit of his 70's bathed in it comes out; the final angry guitar at this point falls into the psyche stoner. "Miles Away" begins with a calm guitar, almost melancholy on a slow tempo, the ballad with a deep but slow voice too; It's more of the order of spleen rock than space rock until the second third and a choppy, nervous flight, this one is worth the trip. "Let Me Breathe" starts off to an 80's tune, new wave pop with easy chorus and hygiaphone vocals; a bit of MONSTER MAGNET and their soaring psyche atmospheres. "Floating Temple" always on an air of the 80's, from the XTC to the first JOE JACKSON who were looking for each other, suggests an easy rock without too much consistency with final rise and a strong guitar solo without too much ardor however, the repetitive voice , mantra limit lets imagine what a longer title can give. "Ammonite" on the shortest title gives more voice, more energy (finally) when reading this album, the nervous, enlightened, fruity guitar leaves relief and saturation, by far my most beautiful song .

"Noggy Pop", strange this track as long as the 6 others put together: a song which finally gives ardor to the listening which until then was very dull. A title in drawers with a long monolithic and repetitive tirade, rather dark, but without real progressive development; a voice that flirts from time to time with that of Sid Vicious of SEX PISTOLS or PUBLIC IMAGE LIMITED, ten minutes which may seem long then this white space which began to exist with the introduction of CDs, a blank of one minute until this 2nd title almost hidden in fact with a sound, the sound I expected from the beginning: musical heaviness, reverberation of the notes, psyche tune, stoner, post, psychedelic, background mantras that make the atmosphere heavy, heavy, incisive and plaintive guitar, a sound that one finds oneself listening to? religiously. The mantra becomes more and more present, mesmerizing, it feels like inside an ashram with lots of people coming to sing along. It may be repetitive, but a certain evolution is emerging, the tone of the choirs varies. Towards the last 7 minutes, in addition to this deafening mantra, the sounds of the first TANGERINE DREAM slip in, then the guitar becomes more present, heavy too, we now arrive on the first KLAUS SCHULZE, we have the impression of going back up. psychedelic sidereal time. But why haven't they developed this sound on their little nursery rhymes?

An album that surprises with the last title, too good compared to the first; an astonishing album, disturbing by the frank rupture between these two spaces; on the one hand, it lacks the energy to really take off, on the other the rocket that goes off without you by braking with both feet, because of being thrown off too. In short, to listen, let settle, then listen again, and you will perhaps find the progressive impetus in this album maze of contrasts.

 Metamorphic by ORANGE CLOCKS album cover Studio Album, 2020
3.03 | 4 ratings

Orange Clocks Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars The Rushden rockers are back with their second album, following on from 2017's 'Tope's Sphere 2'. Whereas that album featured 20 "songs", this contains just seven but is still just under an hour in length (which is what happens when the last song is nearly half an hour ? which has an incredibly annoying lengthy gap to create a "hidden song". Guys, it was not clever back in the Nineties when it was somewhat de rigeur and it definitely is not in 2020). Here they are mixing psychedelic stoner desert rock, spacerock and krautrock to create a sound which will be enjoyed by those who want to imagine a band formed by the coming together of Hawkwind, Gong, Kyuss, Can and Ozric Tentacles. One of the real standouts for me is the bass playing of Derek Cotter, who often distorts his sound so much that the rest of the band can actually sit on the sounds coming out of his amp, they are that rich and thick.

It is when the band allow their more space rock influences to come through when they are at their most enjoyable, as this is when they come across more like Hawkwind than anyone else, or at least if the mighty 'wind were also using drone techniques. But overall this is a band who appear at time to be almost marking time waiting for the next idea to come through, and the result is something which is pleasant and enjoyable to listen to, whether I would make the effort to dig this out to play it yet again is another matter altogether. This really is an album where those into this style of music need to play prior to purchase and make up their own minds, but for me there is just too much repetition to make it a truly consistent release.

Thanks to rivertree for the artist addition.

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