OCTOBER PROJECT

This is an okay album I suppose, but it doesn't qualify as progressive music at all, and really doesn't qualify as folk either. I've read several reviews of this album and band that have placed them closer to nineties new age, adult contemporary, or even to Broadway musical works. All these seem to fit their sound, but folk doesn't. Sony was apparently impressed enough with them to ink a multi- record deal in 1993, but dropped them after their sophomore release in 1996.

The music itself is decent enough, with notably strong vocals from the contralto Mary Fahl, who has since gone on to a solo classical and off-Broadway singing and acting career. Her most interesting claim to fame is a solo release of her own 'interpretation' of Dark Side of the Moon, a Nightwish-like affair but with a lot more electronica and not quite as good of instrumental musicianship (although admittedly I say this having only heard a few samples off the web - the album itself is a bit difficult to locate). She's got a hell of a voice though.

The tracks on this October Project debut are all composed by bandleader and keyboardist Emil Adler, and the lyrics come from his wife Julie Flanders, who does not appear on the album itself except to play finger cymbals on one track ("Return to Me"). The lyrical themes are a mix of abstract poetry, introspection, and vaguely mystical references. Pretty much run-of-the-mill new age stuff for the most part. The music consists of a couple of digital keyboards, sometimes piano, very muted guitar, and drum tracks. Again, nothing worth getting excited about, and the emphasis is clearly on Fahl's vocals and Flanders' lyrics.

It's worth noting that the producer of this album was Glenn Rosenstein, also know for his work with such pop-music acts as Madonna, U2, and Jars of Clay, as well as for a number of Grammys and Emmys for film and television scores. His pedigree is quite evident in the slick production and sanitized sound of this album.

The individual tracks really aren't worth delving into, mostly since this album and band have been badly mis-categorized on this web site. A decent enough record, but not the kind of thing most progressive music fans are looking for. If you are a Mostly Autumn or Nightwish fan, or are into Hollywood-tinged adult contemporary you might like this record. Otherwise I'd recommend passing. Fortunately this one only set me back $8 U.S. out of the bargain bin. Two stars.

peace

1993. No internet for rapidly spreading the word about new prog groups. Not that many new prog groups anyway, especially in the Anglophone world. In this underground environment, bands that might appeal to progressive music fans were considered fair game, and OCTOBER PROJECT was a name that kept coming up for the beautiful voice of Mary Fahl and the lavish sounding production in spite of low budgets.

October Project was compared to Renaissance, and Fahl's voice does bear comparison to Jane Relf but not Annie Haslam. Notwithstanding short track lengths, having her voice multi-tracked as on "Take me as I am", and having a group member who did nothing but write lyrics are other points of valid comparison, especially to the "Azure D'Or" era. I'm just not sure how much any of this resonates in 2009, when so much more bona fide prog is available and widely discussed, and bands can release on their own labels. Nonetheless I was there and everyone I knew was into this group, or perhaps I knew everyone who was into this group, which might explain their rapid disappearance.

For me, 4 tracks make this album worth having - "Ariel", "A Lonely Voice", "Wall of Silence", and "Paths of Desire". Apart from the closing track, everything else is decent, if at times reminiscent of tired 1980s pop a la BRYAN FERRY. While the sound does include folk elements, I would more classify October Project as crossover or prog related.

If you are into music of the above description, some sweeping heartwarming melodies, suffusing string synthesizers, romantic lyrics just to the good side of trite, and tightly knit songs, make this your next project.

I personally love this album and this band. I grew up listening to ELP, YES, Zappa, jazz, ELO, Gentle Giant, King Crimson, Renaissance, as well as Americana country rock and Laurel Canyon California music, with added Grateful Dead. This is some of the most beautiful, expressive, creative, unique music I've heard since the days of Renaissance and 1970's Prog Rock. Even though both of their albums are devoid of pyrotechnical instrumental virtuosic solos, I consider them Prog Rock. Mary Fahl has been compared to Annie Haslem (who is a fan by the way of both Mary Fahl and seperately October Project) and Grace Slick. As a vocal music major, I can say that she has one of the best voices I've ever heard in this genre or any for that matter. Linda Ronstadt also comes to mind. Some of their songs tend to be longer than average, have "sections", have etheral or fantasy lyrics, and have a floating and flowing feel to timing and chord movement. This is NOT typical of Pop-Rock. Many are orchestrated--even if done with electronic keyboard orchestra instruments (hey we didn't hold that against YES did we) and much more lush and complex than what passes for pop or other "alternative" rock of the time. The melodies, harmonies, and chord movements while flowing when performed, seemed to have been well constructed and meticulously thought out in the manner of a Classical music composition. Having seen them live many times, what they evoke on the albums is recreated very well and very powerfully in their live performances. That in itself is an admirable feat. How many bands, especially in Prog Rock, are as competant LIVE as they are in the studio? Remember! 1993. NO Internet ! No TV adds. Largely played on college radio. But loved by WXPN 88.5FM in Philadelphia who have set the tone for all college radio in this country as well as some professional radio. Their 1/2 million units sold was done ON THEIR OWN !!! Sony dropped them because they didn't know what to do with them (typical of Prog Rockers-how many times have we heard that) and with the downturn of the music selling industry, they only wanted artists that were a sure-fire mega-bucks maker. Of course, Sony did hardly any promotion or advertising for them to facilitate that outcome. I truly respect the members of October Project as singers, musicians, and writers. They, themselves, might not even like being labled as Prog. But they are Prog...out of respect for their skill, talent, creativity, and spirit. It's not fair to compare them to YES or the MOODY BLUES or even Renaissance as far as their limited financial and fame goes either. Those of us old enough to remember understand that in the late 60's and early 70's, MOST young artists were for a short time writing their own tickets in the recording studios. The old cigar-chomping (Ed Asner as LOu Grant comes to mind) producers and studi managers didn't know what to do with the "kids" with their wierd loud long-haired music so many times let them produce themselves, even though someone else's name took credit on many albums. For a good 8-10 years, bands like YES had free reign over what they did and how they did it. It would be nearly if not practically impossible to follow in their footsteps today. You don't get to do 25 minute song compositions and get signed to a major label with it's accompanying financial support and industry influence. Where You Are, A LOnely Voice, and Take Me As I Am are among the most beautiful music I've ever heard in any form. As an aside, the percussion was performed very much "live" by Urbano Sanchez and not by electronic keyboard, not that it would be a negative if electronic sound patches were used. After all, look at YES and ELO.

Clannad-lite?

I was intrigued by the widely differing reviews, ratings this band received so far on these pages, so I decided to have a listen for myself. Firstly, one just can't avoid of drawing comparisons with Clannad. The material does have some Celtic influences, for sure.

Pleasant and tasteful arrangements make this music immediately accessible and radio friendly. Hmmm, that's rarely associated with Prog, though.

The voice of Mary Fahl is definitely uncommon and interesting, but honestly, I feel that after a while I may get somewhat saturated with it. Or is it just that the songs appear to be very alike, conforming to a simple, MOR and thus predictable pattern? Carefully avoiding anything that could be associated with Prog and thus not compromising wider, commercial appeal? I think that's probably it.

I enjoyed listening to the two albums of this band, but at the same time, I also think I've heard enough. Good, but surely not essential and I wouldn't consider it as Prog. October Project doesn't belong here, really.

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