OCTOBER EQUUS

The music is very avant-garde with a mix of chamber rock, odd time signatures with constant changes, lots of dissonance, and tracks that change in texture on a constant basis. The band has accumulated quite a fan base, and it is quite apparent why. The musicians here are adept putting together smart music that takes a lot of musicianship to create and reproduce. It is all instrumental and complex. The texture sways from odd chamber style music to heavy bouts of traditional guitar and keys bursting out among the more organic sounds of the flute, bassoon and cello. It's quite an interesting and intriguing mix.

For example, on the first track "Pneuma", the band wastes no time jumping right into the bizarre sounds, no time for warm ups or acclimating the listener. The melody quickly jumps from one instrument to another, breaking up traditional phrasing as each musician passes the melody on to another at unpredictable intervals. But, the album still doesn't rely on that style as the next track "Intermitencias" is a bit mellower, but still with a nice level of complexity as the moods of the music shifts back and forth suddenly from organic to heavy rock at a moments notice. "Ceniza" on the other hand, features interplay between the flute, bassoon and the harsh notes of the guitar, which later all gives way to allowing the organ to mess around a bit while a squalling guitar interrupts from time to time. The mixture is awesome and original, everyone producing the strangest sounds, harmonies and textures that can be dreamt up.

Trying to explain the make up of each track is virtually impossible as things tend to swing around and change often. "Igneo" begins very mysteriously and moves along like that before a synth solo comes in and brightens everything up, and high pitched notes of the guitar wail and whine. At times, sustained notes from the synths attempt to anchor the sound, but they usually get swept away in the complexity of it all.

Often times, you might find yourself trying to categorize the music as being classical, rock or jazz, but in reality, it's a combination of all of that set into the avant garde style with plenty of complex progressive structure. The mix of cello with guitar in the title track "Presagio" testifies to the mixture of musical styles contrasting and yet gelling with each other, as this track continues, a smooth piano brings in the jazz element, and all of this is done with a very minimal use of percussion. Later, all of this gets drowned in washes of organ chords while the guitar talks everyone into picking up the tempo. Contrasting melodies are played by the flute and the guitar while the organ and drums try to establish which direction to take everything. When everything is finally figured out, the track quickly ends.

This is one of those albums that will reveal different surprises each time you hear it. Each track has many melodic lines at times, and these are usually anchored some way by the tempo or texture of the particular track, and not necessarily by any one instrument. Since the music is quite complex, it might take some time for certain listeners to penetrate the nuances and many layers of the tracks. The music is very intellectual, and the only thing that could be improved here is a more variable use of dynamics. The complexity can make this difficult, but it has been done quite well by other bands. This little issue might even be less noticeable with further listenings, but for now, it gives the album a 4.5 star rating that rounds down to 4 stars. However, there is a good possibility that might change over time. Excellent and complex.

This is one of those albums. As the previous releases of October Equus there's a strong RIO flavor in the vein of Art Zoid and Univers Zero, but the music is more approachable even by listeners not used to the genre.

The concept is made clear by the inside pages of the CD booklet. The permafrost is the ground whose temperature is below zero for almost all the year. Literally "permanent frost". This gives the idea of a cold land, but the key is the copy of a piece of paper signed by Lord Franklin, the unlucky explorer who died with his whole crew searching for the North-West passage (there's also a Pentangle's song about him).

Musically it's dark but not too much. There's room for all the instrumentists even though is the guitar which has the most relevant parts. It's singular as the track which for its title should be the most dark and sad, "Graves of the crewmen buried on Beechey Island" is the most relaxed, instead. Everything is already happened and it sounds like an elegy. On this track all the band members show excellent jazz skills and this jazz element is one of the reasons why this track doesn't sound too dark.

It's my opinion, and I can be wrong, but I think that what makes a track very dark is when the passages are so unusual and apparently disconnected that the listener struggles in finding a structure to follow and has to surrender and let it go without the possibility to anticipate a single note. In this album, and mainly in this track, the jazz structure is audible enough and this makes the things simpler for the listener. You won't be able to anticipate any single note even now, but a structure is perceivable.

In any case I think that the music succeeds in commenting the story of a crew of sailors lost and dead in a frozen deserted land at the borders of the world. Read the titles, look at the pictures inside the booklet, follo the music and enjoy.

Not less than 4 stars.

"Erosive Forces Of Wind And Water" opens with a melancholic melody as abrasive sounds join in. The organ starts to take the spotlight as the intricate drumming and guitar continue. Check out the guitar after 2 minutes as it becomes nasty and angular. I must admit KING CRIMSON comes to mind but this is a much darker version of that band's sound. "Lead Poisoning" continues with the complex melodies as drums, bass, guitar and keyboards lead the way. Some nice organ runs in this one as well. There's a dark atmospheric calm before 4 minutes with some angular guitar. "Boots, Nails, Watches..." opens with piano and atmosphere as the guitar is picked. It turns darker as the organ and angular guitar get louder. It calms back down but it continues to be haunting. "Thermokarst" is a little chaotic to start before the bass and drums begin to lead the way. Organ and guitar help out as well. Check out the drumming 2 minutes in then the angular guitar that joins in. Nice.

"Trapped In The Sea Ice" is really interesting early on as sounds come and go. Actually the whole song really draws me in to the mood. So much going on here. "...Books, Saws, Handkerchiefs..." is mellow with prominant bass, intricate guitar, piano and atmosphere. Very cool sound here. Angular guitar comes in then it's replaced by mellotron-like waves of sound. This is my favourite track. Next up is "Graves Of The Crewmen Buried On Beechey Island" which has an almost pleasant vibe going on. Yes this is shocking(haha). The mellotron-like sounds before 2 minutes changes that mood but not for long as themes are repeated. "...Two Double-Barreled Guns and 40lbs. Of Chocolate" is eerie to start. The pace picks up a minute in as does the intensity. The tempo does continue to shift though at will. Some nice organ runs after 2 minutes then this darker mood takes over with drums, bass and angular guitar. This is my second favourite track and a great way to end this record.

Well you pretty much know what your going to get with an OCTOBER EQUUS album and these guys never disappoint. A solid 4 stars and if you can get your hands on any one of their four studio albums do not even hesitate.

Somebody thinks that speaking of concept when the subject is an instrumental album is not appropriate. I think that instrumental music is able to transmit sensations, feelings ans states of mind and this is more successful when they match the basic idea. I was not aware of October Equus being an ancient Roman rite, a very bloody one dedicated to Mars, the God of war. I will not repeat here what can be read in the previous review of this album, just let me say that the music fits very well in the concept and seems to have been thought with the concept in mind, so deeply thought to become the band's name, too.

More than dark I think this music can be called sinister or grim, like some of the Roman rituals were. Think to "Magna Mater" and Bacchanals.

The ensemble is excellent for musicianship. Apparently the tracks are lead by guitar but there's a lot of keyboard and in the parts which appear to be more "jammed", the base comes from the keys. Sometimes very good bass lines come from the background while the drummer makes a lot of work with the unusual signatures. The atmosphere is sometimes Crimsonian,but I think that the closing track, "Hydra" could fit in any Magma album.

The general mood is not Zeuhl, anyway. I think this kind of music can be better compared to Ard Zoyd and Shub Niggurath (their first two albums) but more rock oriented, so that even the comparison to non-RIO artists, Fripp in particular, is appropriate.

An excellent 4-stars debut.

The core of the band remains guitarist Ángel Ontalva (or by his real name Ángel Rodriguez Morales, who also created the gorgeous artwork for the album), keyboards player Víctor Rodríguez and bassist Amanda Pazos Cosse, alongside their, by now, usual saxophonist and flautist Fran Mangas. Planeta Imaginario drummer Vasco Trilla and saxophonist Alfonso Muñoz join the lineup for this album, as well as cellist Pablo Ortega.

Listening to the musicians' playing alongside enjoying the music is a fun exercise in any album, and here in particular. Amanda's bass gives a powerful and noticeable undertone, a solid belly to the tunes as Ángel's cold sounding guitar soars in a slow, slightly dissonant and angular fashion, accompanied by Victor's warm chords contrasting the guitar tone. The saxophones and cello add to the band's eerie sound, a sound that seems to be coming from a far away and scary place. Watching the artwork in the booklet as you listen to the music will help understand what I mean by this, as there is an otherworldly quality to their music.

At times, their music would work as a soundtrack to some classic horror or scary movie, in particular the first piece, Estructuras primitivas en el crepúsculo. In other instances the music offers some respite from that atmosphere with a slightly faster pace and lighter mood, such as in the second piece, El furioso despertar del homúnculo neonato. This piece features wonderful drumming performance by Vasco Trilla, providing the piece with a moderately and frantic sounding tempo. The various pieces on here alternate between the somber and sinister sounding to the somewhat lighter and less dense side, though all bear the clear mark of the band. While one may complain of monotony on the album, that would be, in my view, due to superficial listening and not paying enough attention to the individual songs and how they develop.

But what is common to all the compositions is the sense that I've stepped into another realm the minute I pressed the play button. You might feel you've been thrown into a strange and foreign land with rules you do not fully understand and an unnatural and peculiar scenery that seems to come at you from all directions. But the effort is worth it, in my view, as the band's music offers a distinctive experience as well as a fascinating one with a lot to discover in repeated listening.

I will say this, though: the music on Saturnal is (or can be to those unfamiliar with the style) dense, complicated and hard to penetrate. Indeed, this is an album that the listener has to clear his way into, get past the walls of seemingly "unpleasant" and hard to grasp sounds and vibes. This is not to say the music is "bad" or un-enjoyable, but that one has to take the time to have a clear path into the music and be able to feel comfortable listening to it. While I'm quite used to this "type of music", it took me a while to penetrate its thick sound and jam-packed content. With 13 pieces on here, all written by either Ángel Ontalva or Víctor Rodríguez, you're in for an intense and long journey. Perhaps splitting the album into two listening sessions would help make it easier to swallow for those not fully comfortable with the music. But in my opinion, it is a journey well worth taking.

First up is "Estructuras..." with piano and cello leading early then it kicks in just before a minute. Check it out before 3 minutes. So much going on. "El Furioso..." is a good uptempo track with some interesting guitar 2 minutes in followed by dissonant horns.

"Una Mirada..." is a dark track and check out the odd-metered drum work and angular guitar after 2 1/2 minutes. Nice. "Ingravidez" is a short horn, guitar and drum piece. "Llego Como..." is led by the guitar early then horns as the drums continue.The guitar is back 2 1/2 minutes in. So much going on.

"Realidad Ciega" is more laid back. It's fuller before 2 minutes though. "Avanzando..." has some great sounding drum work on it and lots of guitar too. Cello follows. "Un Mundo..." is short but really good. "No Pudieron..." has percussion, bass, keys and more as these intricate sounds come and go.

"Sutiles..." is dark with cello and sporadic drumming. Horns and guitar too. Great sound 4 minutes in then it settles back before 5 minutes. It's dark again late. "Ella Era..." is a short guitar led piece. Some organ late. "Abre Los Ojos!" picks up and it sounds incredible. It settles back 2 minutes in. Some dissonace before 4 1/2 minutes. "Ultimo Refigio" is an excellent closer with drums, horns, piano and more of course.

I admit this style of music is over my head but I do enjoy it even if it's not exactly my favourite sub genre.

"Architeuthis Dux" hits the ground running with some excellent organ.The sax comes in. The keyboard style here reminds me of PRESENT.The tempo slows after 2 1/2 minutes with organ and angular guitar. Sax follows. Great start to the album. "Frozen Sea" is the longest track at almost 7 1/2 minutes and it's rather eerie to start with as the organ slowly plays. Drums a minute in and sax after 2 minutes. A change before 3 minutes and we get some chunky bass a minute after that. Great sound as there is so much going on including the angular guitar. "Trylobites" has a jazzy vibe to it and it has a dark atmosphere as well. Interesting song to say the least. "Fata Morgana" has some incredible growly bass with piano then angular guitar. Sax after a minute with synths. Powerful organ follows. "Unknown Pilot" reminds me of ANEKDOTEN in the beginning. We get a haunting soundscape after 2 minutes that's quite intense. The tension is relieved before 3 minutes.

"Forgotten Sirens" features some great organ as the drums come in. Angular guitar starts to make some noise after a minute. Nice. Huge bass lines too. "Abyssal" is dark with organ. Angular guitar before 2 minutes followed by drums and sax which start to lead the way. "Thera" features more angular guitar and fat bass. This is dark too. "Niarsek" features what sounds like harmonium and synths. A fuller sound before 2 1/2 minutes as organ and drums start to dominate. It ends as it began in a creepy way. Haha. "Charybdis" features drums, angular guitar and organ.The tempo picks up and sax joins the fray around 2 minutes. Organ and angular guitar lead the way in this one. "Helgoland" is led by sax until the piano takes over. Some bells too.

For those who like this style of music you should really check these guys out..

The third album by October Equus, released in 2008 is named after Charybdis, daughter of Gaia and Poseidon that was turned into a sea monster by Zeus. If one looks at the title of the tracks on the album, he'll notice that mythological and nautical themes are at use here. This album was released through the RAIG label, who has been delivering intriguing and captivating experimental and avant- rock albums in the last years. It is therefore very fitting that Spanish band October Equus release their album through this label as this is a spectacular example of boundary breaking rock.

Starting in your face with the first track Architeuthis Dux, the band mixes great zeuhlish and symphonic elements in the form of heavy thumping rhythm and rich and lush keyboards sound, respectively. This tune and most others in the album carry a feel of atonality, a whimsy approach and a "typical" RIO- esque and to lesser extent zeuhl-ish characteristics reminiscent of the way other avant-rock and chamber rock bands play (the music and sound of Univers Zero, Far Corner and Yugen come to mind among others). There are also a jazzy element woven into this mix and all of these together make this a fantastic and thrilling album. The opening track in particular is a great example of that with its high energy level and even bombastic quality.

Strong jazzy and zeuhl-ish feel and elements are present in the second track Frozen Sea as well. Composed of a slow and somewhat sludgy, dirty sound and rhythm yet powerful, this track portrays well how, much like the short fast segment in its midst that quickly dissipates back to the original sluggish pace, a sea can shift from being stormy and agitated to being frozen and still.

This album seems to be more daring, more bombastic in approach than its predecessor, keeping in the same path, but expanding on it, making their sound broader, fuller, richer and much more appealing even. There's an orchestral feel in the album that was not there in the previous s/t album from 2006. However, like in their previous album, the Univers Zero universe of sound seem to still function as a source of inspiration, as a guiding element, though, as I mentioned above, they expand on it, adding new elements to their overall sound to have it more majestic-like; with the orchestration aspect, the chamber-rock feel with the fusion elements and the use of zeuhl-ish pounding rhythms and energy, the band achieves a new level, a new construction of style and sound and make this album better than previous efforts. This album not only mixes styles wonderfully, it sounds as rich and plentiful as the number of influences it encompasses. There is terrific musicianship here, and you can clearly hear all the instruments, and make out how wonderful the play is. For instance the gorgeous keyboards in Architeuthis Dux, the powerful bass in Fata Morgana and the enchanting saxophone in the title track, Charybdis. A good example of how the band works together very well is given with the brilliant chaotic track Forgotten Sirens with its entrancing rhythm. This album puts emphasis on both attractive tunes and on various moods and atmospheres it creates; in this aspect there's a good balance as some tracks focus more on one (Architeuthis Dux and Trylobites with their relative catchiness) while others on the latter (the appropriately named Abyssal for instance, which focuses on creating a chilling atmosphere).

With 11 tracks culminating at around 46 minutes, this is not an exhausting listen at all and in fact could have used perhaps a few more minutes. In fact, the closing track, Helgoland, could have been prolonged and given a better closure, which as it is feels to me a bit missed.

As I was listening to this album, I got to think about Panzerpappa and their album Koralrevens Klagesang. I did so because like October Equus, Panzerpappa too got much of their influence and inspiration (as I hear it) from (among others) Univers Zero and their ilk of chamber and avant-rock. But, if Panzerpappa took that influence into their particular niche of positive and frisky style creating thus their own sound, October Equus in this album do a similar thing, only in a different direction, building a niche of their own.

An excellent release, even better than their previous splendid effort, this will please fans of the aforementioned styles and bands, and music enthusiasts who like the idea of mingling those influences together to form an OE sound.

Get it!