October Equus: Discography (2006 - 2013)

OCTOBER EQUUS is definitely one of Spain's most pleasant in the world of prog and avant-garde rock nowadays. Formed in 2003, its well-catalyzed mixture of KING CRIMSON-inspired vibe and PRESENT-inspired ballsy RIO recreates the oppressive moods and sinister atmospheres of avant-garde prof's primal sources with amazing vitality and freshness, not unlike other contemporary acts such as DR. NERVE and HAPPY FAMILY, to mention just a couple of examples. You can also find, as it is reasonable, influences from contemporary chamber and jazz-rock. Their official eponymous debut album has been receiving acclaims all across the Internet through the year 2006, its punch and complexity being the most featured items in reviews. Two years before this release, the band had recorded and released a free demo titled "Hydra", distributed only among attendants at their concerts. The repertoire was the same, but set in a different order and using an electronic drum kit instead of an acoustic one.

Until early 2006 the line-up had consisted of Ángel ONTALVA (guitar), Víctor RODRÍGUEZ (keyboards), Amanda PAZOS (bass) and Txema FERNÁNDEZ (drums). But RODRÍGUEZ and FERNÁNDEZ left, so ONTALVA and PAZOS - the founding members - went in search of new recruitments while continuing to write and arrange new material. Eventually though, Víctor Rodríguez returned to the band and newcomer José Varela took the duty on drums, hence the quartet became complete again.

Recommended to fans of KC, PRESENT, UNIVERS ZERO, MAGMA, and generally speaking, to those who fervently love their prog dissonant, challenging and loud.

by Cesar Inca Mendoza Loyola, progarchives

An awesome debut album by a Spanish band that is already more than just a mere promise: October Equus revelas itself as a mature avant-garde prog force with its outstanding eponymous album. Lovers of the rockier side of RIO (Present, early 80s- Univers Zero Happy Family) and the rougher side of King Crimson should not miss this 2006 gem. The repertoire is full of sinister, thanatic motifs, moods and counterpoints, usually with Ontalva's guitar taking center stage while Rodríguez's keyboards lay disturbing orchestrations and ambiences (mixing Univers Zero and Gentle Giant, at least, that's how it sounds to me): all this stands solidly sustained by a rhythm section that moves proficiently all through the complex dynamics of all ten tracks. The opener 'Lupus in Fabula' bears a dark, intrepid feel, which restlessly defies the listener from second 1: the band invites the listener to take it or leave it right away, without delay or compromise. This opener is really powerful, although it is probably the sequence of tracks 2-7 that will call for the attention of the empathetic listener. This sequence conforms the namesake suite, occupying 32 minutes of the repertoire. The foursome allow themselves to explore a variety of moods while keeping a very clear focus on the kind of sonic resources that they constantly stick to. 'Fields of Mars' and 'Bigas' portray a continuous oppressive storm, each one concluding with majestic mellotron-like layers that seem to rest heavily in a hellish atmosphere. 'Sacrifice' bears a more ceremonious aura on a languid tempo, which doesn't stop the guitar from providing one of its most electrifying solos in the album right before the mesmerizing coda. 'Vestals' follows in the ceremonious vein, but this time with more sinister nuances. 'Head of the Winner' bring back the oppressive frenzy of the first two sections, adding an enhanced incandescence to it, and even some occasional joyful colors, too. Things get more obviously melancholic for the suite's final section 'End: On a Lance' - the recurring main motif is really captivating: it is provided an extra majestic flavor in both the guitar leads and the versatile keyboard ornaments. The random mellotron-like layers and storm sound effects add drama to the ever present sense of oppression. The last three tracks have to face the challenge of succeeding the ambitious suite, and they manage to keep the momentum. 'Reliqua Tempora' begins with an inscrutable prelude that soon gives way to the intense main motif: the splendorous ending passage has little to envy from the preceding suite's highlighting moments. 'Minus Nihilu' starts as a well-crafted exercise on minimalist introspection, leading to a powerful climax for its final 1 ½ minute. 'Hydra' closes down the album in a fashion related to the opening number, albeit with a more pronounced Crimsonian vibe. General conclusion: the "October Equus" album is a most brilliant avant-prog item. This prog genre is not too common in Spain, but definitely, October Equus prove to be an important musical force for the preservation of radical prog rock in our current times.

by Cesar Inca, progarchives

"Charybdis" is a big statement of refurbishment and development of the basic RIO trend pursued by the excellent Spanish band October Equus. The listeners shouldn't expect a work of emphasis on the robust tension and epic environments delivered tow years earlier in their debut album, but a renewing twist toward a more thorough elaboration of nuances and atmospheres. Please, don't get me wrong, the band remains muscular and powerfully driven into the rockier aspect of experimental rock. Yet, you can tell that the level of sophistication in both the writing and arranging processes has reached a new height, in no small degree due to the addition of jazzy cadences and vibrations to the rhythmic foundation. The album kicks off with 'Architeuthis Dux', a very dynamic piece whose inherent punch is cleverly amalgamated over a challenging set of rhythmic variations. Mangs' sax interventions provide that eerie jazzy element that will prove crucial for many tracks in the album. 'Frozen Sea' is focused on melancholic moods, mostly based on grayish, somber (yet not creepy at all) organ layers whose chord progressions state a true reflection on introspection. Once the piece shifts to a more extroverted section, the jazzy factor becomes totally predominant in order to instill a colorful swing to the momentum. A brief reprise of the languid intro section provides a proper closure. 'Trylobites' is mostly ethereal, yet still providing a certain disturbance through the dissonant counterpoints that bring an obvious sense of controlled tension. 'Fata Morgana' enhances somehow the jazzy RIO strategy, with a melodic structure that alternates a warm motif on 6/8 (something like Yugen-meets-"Leg End" era HC) and a central motif that states an almost chaotic architecture of muscle and dissonance. Brilliant!! 'Frozen Sea' had reflected the kind of renewal the band has been prusuing for thsi album, while 'Fata Morgana' delivers a global statement about the old and the new OE. 'Unknown Pilot' is a very inspired exercise on avant-garde lyricism: as un-symphonic as this piece clearly is, it certainly echoes the evocative mood that is common even in 20th century chamber. I wouldn't have minded if this piece had been expanded beyond its 3'21" time span, but anyway, that's not a decision for me to make. A great, appealing composition it is, indeed. And so is Amanda Pazos-penned 'Forgotten Sirens', a muscular piece (somehow Present-inspired, yet typically OE at the end of the day) that eventually transits to ethereal atmospheres at the ending section. Once again, my minor complaint is that this delicious idea is not expanded beyond its actual time span (only 2 ¾ minutes for this impressive prog item?… mmmm.). 'Abyssal' brings back the reflective side of October Equus, wisely seasoned with elements of tension and darkness. Not unlike track 4, this piece is related to the sort of sound delivered in the debut album, but it also bears arrangements much in tune with the controlled density that prevails in "Charybdis" as a whole concept. 'Thera' follows in a similar vein, even enhancing the ethereal factor, which proves quite effective when the more intense passages settle in and create an interesting contrast. Ontalva's guitar phrases are featured in their magnificence among the complex instrumental framework. 'Niarsek' goes even deeper into the band's serene facet, with those dominant keyboard orchestrations that instill a ceremonious aura into the composition's overall contemplative vibe. The namesake track brings back the sort of ambiences that had already been present in tracks 1 & 4, dynamic RIO with a heavy jazzy twist and a clever use of dissonance and counterpoints in a challenging tempo. 'Helgoland' is the epilogue that brings the ultimate expression of melancholy in the album: the simplistic harmonic bases are handled with elegance, including a brief delicate piano interlude and an impressive guitar solo. that fades out too soon!! Despite my (minor) objections regarding some pieces' time span, I am far from considering the repertoire's whole situation as a failed one. On the contrary, "Charybdis" is a perfect example of successfully conceived avant-prog music in our current progressive scene. October Equuus has managed to stay loyal to the basic sound while taking it to another level of reinvigoration.

by Cesar Inca, progarchives

The Spanish instrumental progressive/avant-rock group October Equus is back with their third full-length (I am not counting the 2004 release, Hydra). October Equus don't rest on their laurels and repeat the same album but rather change things and develop with each release, showing the group's growth and maturation. With their 2006 s/t album (Ma. Ra. Cash Records), the influences of Present, Univers Zero and King Crimson were apparent, whereas in 2008's Charybdis (RAIG) had a zeuhl flavour and sounded more bombastic and daring than its predecessor. With Saturnal the band has signed with Italian label AltrOck, my current favourite label and a treasure trove for all things progressive and mind-blowing. In here the band seems to recall some of their s/t release, with added complexity, density of sound and succinctness. I also would make a comparison, in at least a few songs, to Miriodor's recent albums, in rhythm and spirit, but done in October Equus' unique manner.

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.

by avestin, progarchives

The recordings presented on this new CD are taken from a three day rehearsal session in March 2009, while the band was preparing for the concerts at the MamFest in Madrid and the Gouveia Art Rock Festival in Portugal. It's the only document that features Mario Rivera, a drummer who was in the band after the release of the 'Charybdis' album and before the incorporation of Vasco Trilla.

Mario Rivera played in these two festivals and in another concert with the band Planeta Imaginario.

Sadly, his presence in the band was only documented on a video recording from Gouveia Festival (shot by someone from the public and with very poor sound quality) and on those rehearsal sessions. Although the band was still far from the precision and strenght displayed in live concerts that year, these recordings show a vital, fresh and deliciously imperfect revisions of the compositions included in the three CDs by October Equus, 'October Equus', 'Charybdis' and 'Saturnal'.

These sessions are presented here as they were recorded, without any kind of overdubs that could distract from their documentary values.

Ángel Ontalva

This is studio album number four for these Avant minded Spaniards. Interesting that there is no sax on this record for the first time since the debut. That doesn't mean it sounds exactly like their self titled first album as that one was much darker and oppressive in my opinion.

"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.

by Mellotron Storm , progarchives