Now a decade into their existence, O.R.k. are about to release their fifth studio album, Firehose of Falsehoods, on March 21st through Kscope Music, adding to their highly revered catalog in progressive circles. Though spread out between the United Kingdom, United States, and Italy, the group takes a collaborative approach to songwriting in which all members feel free to bring something to the table musically. By his own admission, after years in a less democratic band, Colin embraced the opportunity to develop and allow that aforementioned confidence to flourish in this new environment, discovering and revealing another side to his musicianship that the world never got to see with Porcupine Tree.
Prior to the release of Firehose of Falsehoods, I had the chance to speak with Colin about the new record, plus:
- the social significance of the title Firehose of Falsehoods, his personal contributions to the album, O.R.k.’s origin and songwriting process, and how LEF conjures the ghost of Chris Cornell.
- how the band came to work with Serj Tankian of System of a Down, how they got Adam Jones from Tool to design their album covers, the meaning of the octopus as a band logo, and bonus octopus facts from Colin.
- former Porcupine Tree touring guitarist John Wesley’s guest solo on the album, PT’s 2003 tour with Opeth, how “Trains” became an unlikely encore song, and a discussion of In Absentia and what influenced its metal direction.
- Colin’s favorite basslines to play from Porcupine Tree, a reflection on the last 15 years since he left the group, and the origin of O.R.k.’s name.
When Porcupine Tree’s hiatus ultimately ended in 2021 with the announcement of Continuation/Closure, and its release in 2022, Colin would still be awaiting that call from his old frontman, as he was instead informed by a lawyer that he would not be a part of the reunion. Without the hiatus and events that followed, however, it’s possible he never would have had the opportunity, or need even, to develop another side of himself musically. In speaking with Colin, it is abundantly clear that he’s gained that confidence he was seeking in 2010 as a player, collaborator, and writer since that last show at Royal Albert Hall and exudes it in each and every new project he tackles.
Enjoy!
