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Orphan Bloom / Press

“Holy F***. I’ve just seen one of the best bands to ever come out of the area and their name is Orphan Bloom. Remember that name, you’re going to hear it again. What if you took Mars Volta, fronted them with (a young) Robert Plant and put, I dunno, frickin’ Jaco Patorious on bass and Neil Peart on drums? God these guys are good and I don’t know that I’ve ever felt so stunned after a performance by a local band.... Bands like this come along about once in a lifetime.”

"Songs like “Indra’s Web” contain trace elements of each member’s past, swinging between passages that display the malleability and elasticity favored by jazz aficionados and ones loaded with the foundation-rattling guitar riffage preferred by metalheads."

“It’s not often a young group that offers so much promise comes along. Orphan Bloom’s debut CD is an aggressive, psychedelic composite of the best rock attributes from the last five decades. Each member brings talent to the table that, added up, is greater than the sum of its parts. The rhythm section of drummer Travis Drumm and Nathan Wiswall is an indomitable force, driving these songs with conviction. The guitars of Alex Kress and Saigopal Nelaturi dance like demons on a mission from hell. Kress’s vocals are tough, gritty and sung with the unbridled enthusiasm of early Robert Plant.”

"Orphan Bloom: Hard rock and metal have long had their place in Madison, but Orphan Bloom's heavy riffs are grounded in complex and experimental arrangements. The chords' epic sweep is punctuated by the jagged and unsteady vocals of Alex Kress. [Guitarist Saigopal] Nelaturi reveals his guitar skills during the extended instrumental jam "Immune." A nervous bass line adds plenty of tension to the song. Elsewhere, the bluesy, acoustic "Brindle" shows Orphan Bloom embracing a Led Zeppelin-style, 1970s prog sound. "

“What if you took a (young) Robert Plant and that early, bluesy Led Zeppelin sound to the Mars Volta, then put a top-notch jazz fusion rhythm section behind it? Madison, Wis.- based Orphan Bloom does just that....with lead guitarist Saigopal Nelaturi injecting dazzling solos, especially on nine-minute closer 'Frail Hand', complete with a percussion solo by Travis Drumm that builds into cacophony. Bassist Nathan Wiswall is outstanding throughout and gets a solo on 'Veil'. Wiswall also handles graphics and the album is a visual thing of beauty. Lead vocalist Alex Kress brings a classic blues/rock dynamic, giving the band a retro sound.... A fierce groove ensues on 'The Duel' before finally breaking into Kress's vocals for the last 45 seconds. 'Indira's Web'[sic] spotlights the vocal harmonies and has an Allman Brothers-style middle section. Things can get acoustic as well as on the breezy 'Brindle. This is a very talented young bunch.”

Rick Tvedt - Progression - Quarterly Journal of Progressive Music

"Wow, over the last week I just can't seem to get enough of this album from this Madison, Wisconsin based progressive metal band Orphan Bloom. It's ballsy, riffy, bluesy, technical, groove metal. This record has these thick yet catchy guitar hooks at times that never leave your head. ...Really badass, groovey blues metal, that is progressive rock of a kind, but really never is guilty of excessiveness. ...I saw them a few weeks ago in Minneapols at the "Progasm" at the 400 Bar, they played some new material...they clearly were the band I was impressed by the most that evening. I probably would call this among if not the best 2010 record I've heard in 2011 thus far... I can't wait to hear what they do next and see them live again."

“One can hardly wave a wicked scepter these days without hitting a modern band drawing influence from classic psychedelic rock. But when it's done well, it pleases the court as well as the masses—as with the castle-storming, metal-informed rock of ages plied by Madison's Orphan Bloom. Scattering its noodling guitar lines and easy vocal harmonies to the wind over labyrinthine compositions like "Indra's Web," the band weaves the best elements of black-magic rock sorcery while avoiding typical genre trappings such as ludicrous lyrics and falsetto abuse—making its debut album one of the bigger surprises of 2010.”