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“…The South African mystery man by way of Canada. Dressed like Roy Rogers with his face always hidden behind a tasseled fringe mask that looks like it was patched together from a fistful of pasties. The irony is that the gimmick almost distracts from the independently beautiful talent of his vocals. Almost. Close your eyes for half second. Just long enough to distance the pageantry of the display. Take a second to simply FEEL what he’s sharing. Isolate the voice and soak it in. But then open back up — don’t deny yourself the full package. A delicate waive of the hand, acrobatic karate kicks a la Nick Cage in Wild at Heart, and the lingering question mark of the man behind the mask.
He bends the angst of a blue collar genre toward the heartache and alienation of those who may feel themselves pushed further to the edges of society’s margins. And that’s precisely wherein Orville connects the dots from Cash to Morrissey. The nexus is in the weird. Whatever the works might mean or feel to each of us, permission is granted to activate our individual and collective freak by putting on or taking off our own tasseled masks. Fringe, baby. Wear it. Live it. Be it. Like Nick Cage as in Lynch’s magnum opus: This here jacket is a symbol of my individuality and belief in personal freedom. Orville is where country meets punk and rock, not in sound but in ethos. Paul Cauthen says fuck you by literally saying “I have fuck you money”. Orville does it by making the beautiful slightly kinky and the slightly kinky slightly sublime. As the enchanting warble of his throaty voice power croons through “Dead of night” the performance is only as stunning as the sun setting over the Rose Bowl while the moon rises over Palomino fest.
He blends and builds a sound that has echoes of Chris Isaak but is all Orville. It all works and it only works because the man can flat out sing…”
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