The Orange Constant

This Statesboro-bred quartet took their name from the arresting, glowing aura of the late-afternoon Georgia sun that often penetrated the baffles of their tiny rehearsal space. So, too, glows the music emanating from The Orange Constant’s confident and polished debut, Time To Go, which was engineered and recorded at R.E.M. and Widespread Panic producer John Keane’s Athens, Ga., studio. Laden with connective riffs and melodious charm, much of the album evokes a ‘70s FM AOR vibe, without appearing self-conscious. At times,these four musicians—who met on the campus of Georgia Southern University a little over three years ago—sneak in drops of reggae and a West Coast haze that slightly belies their firmly planted roots. “From the start, we knew we
wanted to be a band that was known for original material,” says drummer Lee Guentert. “Accessible, somewhat catchy, but at the same time, diverse and drawing from a lot of genres to form our own unique sound.” Though he admits he has been surprised by the support the group has received across the Atlantic—thanks to Europe's progressive leanings—Guentert insists that the band intends to continue to grow their fanbase at home, and they are
currently performing over a dozen dates per month throughout the Southern U.S. - Relix magazine

I have long wondered if Time to Go should be reviewed in Koid9. The album is indeed quite unclassifiable, sometimes on the border of progressive rock, sometimes very mainstream, but mostly it is full of amazing qualities and really mature for a first album, album being committed by all young musicians barely out of adolescence.
After having been heavily tested on stage, Time to Go offers a dozen pieces of 3 to 7 minutes in a type commonly called a jam-rock, similar to what a band like Umphrey's McGee can produce. Members of the groups prefer to call them 'non-genre' drawing their influences in the music of past decades and incorporating pop or progressive touches. Coming from Athens, Georgia, like their elders REM, The Orange Constant had the chance to record in the same studio led by the same engineer, John Keane, who also participates in several pieces, pledge recognition and quality. The line-up is classic, without keyboards, two guitars, rhythmic often taking the role usually devolved to keyboards, in terms of accompaniment or atmosphere implementation. The spirit that emerges is similar as the short titles by Tin Spirits.
Most of the titles, probably because of the young age of the musicians deal with the transition from childhood to adulthood, emancipation and disillusionment of the "real" world ...
The different pieces, although not really progressive with long developments, however, have a rich structure, beyond the refrain verse-chorus ... Especially, the group managed to produce unstoppable melodies, immediately catchy, then enrich the theme to achieve far more complex pieces than they do seem at first ("Emily", "Ask me to Jump"). Thus the group will merge with success different genres, funk ("Good Intentions"), heavy-blues ("Cannonball"), mainstream ("So So young old" or "Breeze"), or even limit reggae, (the great "Mask" and its amazing guitar final) and finally mixing genres to appropriate them and develop. In the end, the tracks, even if they have marked influences and quite away from our favorite genre are strongly approaching the progressive spirit by the treatment The Orange Constant brings. As often with the Americans, it is also very clean, very square in terms of production and beautifully sung.
A first album of astonishing maturity, catchy for a group that I will now follow closely.
Stephane Mayere 4/5 - Koid 9'

"Time To Go "shines by the elegance of his compositions, the melodies are stripped, a psychedelic atmosphere typical 70s, it gives off very nice vibe overall. The Orange Constant favors the melodic side, as the draw for "Emily" and guitar gimmick that will charm your ears. "So Young, So Old" captures live rock, while remaining subtle and refined. There are the Reggae rhythm and captivating harmonies of guitars for "Mask". Low lead for "Cannonball" more collected and returned inside. There is very rock'n'roll feel of "House of Shutters" and its relentless rhythm. They get a little jazzy and bluesy "Southern Snow" .
The gradual slope is covered with two pieces river that are "Good Intention" and "Ask Me to Jump" and the bouncy "Breeze" and the instrumental "Squid" which fully expresses the musical virtuosity of the group.
The Orange Constant with "Time To Go "draws to satiety sound variations of our musical history. The result is quite interesting. - Prog critique

The Orange Constant is a band based out of Athens, Georgia. Members include Andrew Brantly (vocals, guitar, keys), Nickalous Benson (vocals, guitar), Lee Guentert (drums) and Will Goggans (bass). Produced by Grammy nominated John Keane (R.E.M., Widespread Panic), the album benefits from a tight, well-rounded crisp sound. The instrumentation and vocals are solid, with songs that linger in the mind long after its conclusion.

The Orange Constant's style kind of vibes like the jam bands from the 90's, bands like Strangefolk, Jiggle the Handle, Day by The River and Ekoostik Hookah. But for a record that bares the souls of its architects, Time To Go doesn't unfold like some tribute album. It's a record that works beautifully in the moment, sincere, melodic and emotionally engaging. The songwriting is superb, and the music flows seamlessly from track to track. It's pretty solid from start to finish but by far the best parts are "Good Intentions," "So Young, So Old," "Mask," "Squid," "Breeze," and "Ask Me To Jump." Time To Go is a record that confirms The Orange Constant as accomplished musicians, and a major up and coming talent whose next move will always be just as intriguing. - Home Grown Music

I guarantee this is a review of the new album Time to Go by The Orange Constant. Really. But indulge me for a few paragraphs first, please.

I am a music junkie. I have 5000 LPs, more than 2000 CDs and a loaded iPod. I acquire music constantly. I love buying from bands at shows, because I am certain where the money goes. I also like purchasing from a band’s website. And I certainly like to shop locally. I live in Tampa and frequent the Sound Exchange shops when I can.

But sometimes we in the jam community have difficulty locating material by some of the artists who have impressed us. There are online sites that specialize in our brand of (relative) obscurity. My go-to guy is Lee Crumpton.

Crumpton created Home Grown Music Network some 20 years ago in North Carolina. I’ve been dealing with him for almost 15 years. He and his knowledgable staff are conversant in jam, rock, funk, jazz, reggae, ska, jamtronica, and [fill in the blank — they probably have it]. They carry a huge catalog of ‘classic’ artists, but HGMN specializes in promoting groups in need of distribution help. From their website:

Leeway’s Home Grown Music Network is a shared collective of people, independent jam bands, live music venues, and businesses working together to make the independent music scene stronger.

When I order, I usually have several things in mind and several questions to ask, the most important of which is:

What do you have that’s new that I can’t live without?

And every time they deliver. I had seen a blurb recently about The Orange Constant, and it sounded like it was right up my alley.

I had no idea just how much.

I did read beforehand that John Keane was involved with this recording, but I would have known instantly; his unmistakable signature is all over this wonderful project. Keane engineered the album and contributed percussion and pedal steel.

But Time to Go would have been superb no matter where it was recorded; it is just that much better with Keane.

The Orange Constant continue the brilliant tradition of music emanating from the overflowing fountain of Athens, Georgia. They are: Andrew Brantley, vocals, guitar, keys; Nickalous Benson, guitar, vocals; Lee Guentert, drums; and Will Goggans, bass. The quartet formed in 2012 while they attended Georgia Southern University and have steadily grown their fan base since. A five-song EP recorded in 2014 preceded this debut full-length album, which was released last June.

And they have hit a home run on their first trip to the plate. From the first strains of “Emily” all the way through to the jammed-out coda to “Ask Me to Jump,” Time to Go is a pure delight. You will hear influences throughout the disk, but this is fresh and exciting.

“Emily” begins with a nice guitar intro with syncopated drums into a great guitar riff that the tune is built upon. Brantley’s vocals are honey-smooth, so pleasant on track after track. The chorus rocks, and the guitar solo is driven by Guentert’s tom-toms. The harmony vocal is perfect.

Another beautiful tune follows: “Good Intention.” The lyrics are poignant, the playing first rocking, then sublime. Goggans’ bass really stands out here, as does Benson’s guitar figure. The tune ends on a rocking upbeat.

“Cannonball” is chunky, funky blues rocker that features the Damcaster from Georgia Quarter (read more about it here) with great harmony vocals.

The group returns to an uptempo outing on “So Young, So Old.” The guitar solo is a quiet beauty, each note distinct and beautiful.

“Mask” starts with lovely twin guitars that segue to a reggae-type beat propelled by Guentert’s persistent cymbals work. The lyrics are again conscious and relevant, the vocals still smooth and such a respite from much of today’s ‘singing.’ The closing guitar solo is the perfect coda.

If I had to pick a favorite track, the leader in the clubhouse might be “Squid,” despite the fact that it is instrumental (their vocals are just so good). Keane chimes in here with his pedal steel, in just the right places. As on every track, the bass and drums are heard to great advantage, again thanks to Keane. The guitars wrangle and overlap. If you are looking for screaming, blistering guitars and jangly everything, this is NOT the album for you. This is wonderfully subdued, contained, delivered to you in style.

“Breeze” is a bouncy romp, solid drums, Keane, vocals, lyrics. There is great maturity in this band’s playing, almost muted, Hammond B3 coloring the background. “Bring your breeze to me, your breeze… to me.”

Raw guitar announces “House of Shutters,” more great bluesy rock. The fuzz-tone quality of the guitar draws you right in. “You’ll find me in plain clothes in a house of shutters.” A great wah-wah guitar solo rides atop the groove.

Goggans’ bass introduces “Southern Snow,” another great subdued song with acoustic guitar and electric. Vocals and guitar solo are again spot-on.

Finally, a beautiful ballad in “Ask Me to Jump.” Keane’s pedal steel and Brantley’s piano stand out, and then the song launches into a great jam, that perfect Southern jam-rock feeling oozing out with every note. It’s a superb ending to a superb disk. It’s in constant rotation. - MusicFestNews

The Orange Constant’s sophomore studio album Point of Reference is filled with songs for stargazing. Throughout the LP, the Georgia-based band imbues tracks with sonic textures to create thoughtful indie-rock that is as ready to play in your earbuds as it is to boom through concert halls. The band’s roster (guitarist/singers Andrew Br antley and Nickalous Benson, bassist/singer Tyler Walker, keyboardist Chris Freiberg and drummer Sam Groveman) exudes strength and purpose on Point of Reference. And additional horns on songs like “The Fountain” breathe even more life into an LP that’s simultaneously wistful and triumphant. Highlights include “Sir Martin,” a song with an engaging, diverse guitar part that comes at you from all angles. In no time, ethereal sounds sharpen into steadfast rock riffs. On the title track, the quintet climbs toward a pop-infused pinnacle, before veering into cerebral rock, and finally landing on an arena-sized crescendo. Sure, the reggaefied “Ego Chatter” is a bit of a curveball but, overall, Point of Reference is brimming with lush soundscapes and clear, purposeful compositions. You can clearly hear the influence of heavy hitters like My Morning Jacket on this record—and, yes, The Orange Constant are aiming for the same sonic strike
zone—but Point of Reference has plenty that sets this band apart. Closer “Red Ryder” acts as less of a epilogue and more of an invitation to follow this young band on their next journey, wherever that may be. - Raffaela Kenny-Cincotta