OKTOBER

Oktober is an obscure German band who released 3 albums between 1976-1979. The band's name is a reference to the October Revolution of 1917. They were one of several so called German 'polit rock' bands of that time similar to Floh de Cologne, Ton Steine Scherben, Lokomotive Kreuzberg and others. These bands emerged after the 1968 protest movement as part of the extra-parliamentary opposition in West Germany. Common to all of them were lyrics sung in German with a political agenda against the ruling political system and the establishment.

The debut album of Oktober is called 'Uhrsprung', which is a creative composition of the words 'Uhr' (clock) and 'Sprung' (leap). Both words together can associate with a clock that is ticking, a time that will come and the word 'Ursprung' which means origin. The vocals are sung in a theatrical manner like a layman choir, not in the way of trained singers, because they represent the voices of the common people who declaim against the system, proclaim demands and dream of a better future.

The album consists of 5 tracks. The first three Familie (family), Schule (school) and Betrieb (work place) focus on the areas of life, where the person experience oppression. The forth song Staat und Solidaritätslied (state and solidarity song) is about the political fight in the state, and the last song Der Traum des Schmieds (dream of a blacksmith) is a dream about the awakening of the workers class.

The musical style is pure high quality progressive rock similar to Yes, Genesis, ELP or Gentle Giant. Notwithstanding these influences, the band manage to create an own distinctive sound with excellent instrument playing throughout on the symphonic side of prog. Unlike in Anglo-American countries, in Germany there is a strict separation between 'popular/rock/jazz music' and 'classical music'. Crossing the borders between rock and classical, as is done here, can be regarded as an affront against the establishment, so the use of this style is not surprising. It can be seen as the music of the future, where its 'progressiveness' is meant in the sense of historical advancement.

Oktober were a seven piece German band who put on these theatrical shows that were very political. This their second album continues in the same vein as the debut as we get this Symphonic/Krautrock style of music although this is much more symphonic than the debut. The vocalist has a lot of character to say the least. This was a double concept album with four side long suites with plenty of twists and turns including lots of samples and spoken words as well. All singing and speaking is in German and the subject matter is "The Paris Commune" which is about an event that took place in Paris in 1871 where it is believed the first ever government was formed by the working class people. This is a ride folks.

We get started with "Unser Blut-Ihre Geschichte" where we can hear a loud crowd shouting and celebrating before the organ takes over. This is replaced by drums and guitar that builds. Check out the chunky bass and background synths. Man this sounds amazing. The guitar then solos over top 2 1/2 minutes in before it all settles right down as spoken words come in with atmosphere. It all kicks back in at 5 minutes including piano this time. Vocals follow. It settles again with background synths as the vocals continue. Great sound before 8 minutes as it picks up speed then becomes more powerful. I like the way themes are repeated. Impressive instrumental sections follow then I like the calm 14 minutes in as the synths blow like the wind as the drums pound. Ripping guitar after 15 minutes with ground shaking bass as the drums continue to be upfront. A dark calm before 18 minutes with deep sounds and sinister guitar. Spoken words only follow then back to the instrumental work followed by vocals as again themes are repeated. What a track !

"Die tage Der Kommune" sounds like the start of the first track as the crowd roars along with other sounds. The music kicks in before a minute. Love the prominant guitar 2 1/2 minutes in. It becomes very symphonic, almost GENESIS-like and the vocals become double tracked like they did at times on their debut album. Themes are repeated on this suite as well. The vocals become fragile with picked guitar 13 minutes in until spoken words take over 16 minutes in with piano. The music kicks back in with some power before 17 minutes, vocals follow. A calm with flute after 22 minutes, vocals and piano then take over as it stays mellow. Not for long though but the mood continues to change.

The second record begins with "Zwischenlied" where we can hear a man speaking along with street noise before the guitar and vocals take over. Piano starts to come and go in this beautiful section. Things change as a dark atmosphere comes in and the vocals are suddenly spoken. Back to the strummed guitar with vocals. Very folky so far on this track. A change after 11 1/2 minutes as the music stops and we can hear soldiers marching and the crowd buzzing. A more uptempo sound follows as the music returns with vocals shortly after this. The music almost marches along here. I'm thinking GENESIS with the synths and intricate sounds after 16 1/2 minutes. A calm with gentle vocals follows. It becomes more dynamic and the vocals more powerful after 18 minutes almost to the end.

"Unser Blut-Unsere Geschichte" opens with samples once again then multi-vocals take over including female ones this time. Heavenly guitar melodies take over with keyboards. Vocals join in before 2 minutes. It all stops before 5 minutes as an anthem takes over with horns and drums. Then the boys are back with a familiar instrumental theme. So good, then a calm with vocals follow before it picks up again. A calm with synths 10 minutes in. The last 1 1/2 minutes is like listening in on many people talking about the event to the end.

No doubt a 4 star recording for me but I do prefer the debut. Of course a concept album is difficult to appreciate when you don't understand the spoken words or singing. What an innovative band though, especially when you consider that their debut was released in 1976 and this one a year later.

This is one of those albums where the word "obscure" is not an exaggeration in the least. Just try finding information about this band and you'll see what I mean. Also it has yet to be released on cd which certainly helps keep this band from becoming more well known. It's interesting that they sing in German because most Krautrock bands sang in English. The thing that struck me the most when I first heard it was the vocals which are interesting to say the least. While this band is listed under Krautrock(and I don't disagree with that) there are lots of Symphonic flourishes which bring GROBSCHNITT to mind. Still this is an adventerous album with lots of interesting ideas. Bizarre is a word that comes to mind quite often.

"Famile" gets things started and it starts with a clock ticking then an alarm going off before the band kicks in hard. It then settles right down as solo double tracked vocals come in(yikes) then organ and spoken words which really remind me of WIGWAM's "Pride Of The Biosphere". It does kick back in quickly though. Love the melancholy 2 minutes in, especially the synths as the vocals return. Great sound again before 4 minutes with all that melancholy. Nice guitar here as well. And check out the drumming late. Nice. "Schule" opens with the sounds of an office I think with the phones ringing and people talking in the background. It kicks in with some nice bass and drums as the vocals join in. Man I really enjoy the instrumental work, especially the synths which sound really good. A guitar solo is followed by flute before 3 minutes. More excellent bass and drums in this almost all instrumental track.

The last three songs are all over 8 minutes in length and "Betrieb" is up first. This is more Symphonic and laid back with lots of vocals early on. The guitar grinds away after 2 minutes as the vocals return almost speaking the lyrics as the guitar continues. A change 3 1/2 minutes in as it becomes silly including the vocals. Another change before 5 minutes as percussion leads the way with distant vocals. "Staat Und Solidaritatslied" picks up quickly with synths, drums and flute leading the way. Vocals join in. This is really good. A calm after a minute but not for long. Great sound after 1 1/2 minutes. Passionate vocals join in. Catchy stuff before 4 minutes then we get a calm with synths and melancholic guitar taking over. Vocals are back. Organ after 5 1/2 minutes then it kicks in hard with guitar. Nice. Such a proggy track. "Der Traum Des Schmieds" blesses us with those melancholic synths before it turns heavy briefly. Vocals and a calm follow as this continues until after 2 1/2 minutes when it picks up without vocals. Vocals are back as the heaviness comes and go. Check out the guitar after 4 1/2 minutes. Great sound here. Melancholic synths are back as the guitar stops. A Symphonic vibe takes over reminding me of YES after 6 minutes.

Man those vocals have character although they certainly won't be for everyone. This is a real find for me though as that Krautrock spirit is felt throughout this album. Adventerous and interesting are words that come to mind. A solid 4 stars and maybe closer to 4.5 stars.

Excellent German group, propably from Hamburg, associated with the political Rock movement of the country, but structurally much closer to Progressive Rock.They started as an 8-piece act with Kalla Wefel on bass/guitar/voice, Peter Robert on keys, Carl-F. Doerwald on voice/flute, Klaus-Peter Harbort on drums, Hans-Werner Schwarz on guitar and three additional members in choirs, Birger Holm, Axel Ratsch and Philippe Ressing.Their debut ''Uhrsprung'' was recorded at The Hochschule für Musik in Berlin and it was released in 1976 on Trikont.

Das Uhrsprung, that is the alarm clock, ticks at the start of the listening, giving birth to a complex, emphatic and intricate Progressive Rock album, somewhere between the symphonic side of GROBSCHNITT and the adventurous workouts of GENTLE GIANT, although Oktober were actually a very original group.The long tracks consist of very complicated but conveincing music, full of stunning breaks and time signatures, highlighted by the tremendous synth acrobatics of Robert and the impressive guitar work of Schwarz.Plenty of Classical interludes and some more spacey themes are also present, while the vocals are extremely theatrical and sometimes over the top with eerie choirs, propably with satirical lyrics and sung in German.Melodies are not absent either with a rather NOVALIS approach, but generally this work shows glimpses of a masterful effort in the amazing interplays and the combination of rich, intense music with its strong lyrical content.Piano, Hammond organ and synthesizers change all the time, creating obscure textures of genuine musical progress.

An overlooked, rare gem of Kraut/Symphonic Rock.It contains all the fundamental components of a great Progressive Rock album, resulting a beautiful and very original album with impressive and memorable compositions, despite its complex nature.Highly recommended.