Sometimes things get weird in the synchronicity department.
\nWithin a few months of Mary Fahl’s debut CD (reviewed previously
\nhere on the DV), most of the remaining members of October Project
\n(who had been playing gigs and putting out one EP last year) took a
\nshot at regaining their own magic with their first
\nmostly-full-sized release since 1995. Today’s review takes a look
\nat October Project’s 2003 release
\nDifferent Eyes<\/i>.<\/p>\n
The core of October Project 2.0 is Emil Adler, Julie Flanders,
\nand Marina Belica — the original three members of October Project.
\nAdler was the primary keyboard player and music writer for the
\nband’s ’90s releases, Flanders was the primary lyricist, and Belica
\nprovided keyboards and vocals. Not surprisingly, the strength of
\nthe band is elegant, spare, lovely songwriting; heartbreaking and
\nclever turns of phrase delivered in Belica’s precise phrasing.
\nInterestingly enough, the songs here are older; none are newer than
\n1995, and as the CD’s title says, the band has returned to look at
\nthem with “different eyes”.<\/p>\n
The production and engineering of the CD is good; longtime fans
\nof the band will find the sound on
\nDifferent Eyes<\/i> a bit spare, however, as if there was a layer
\nor two of the textured sound missing. While I think that’s
\npartially the mix, mostly it seems to be the reality of trying to
\nreform a band and record again without big-label backing.
\nNevertheless, there are some musical high points; the guitar intro
\non “See With Different Eyes” is astonishingly good, even though I
\ncan’t tell if it’s actually a fingerstyle acoustic guitar or a
\nkeyboard sample (there is no guitarist credited on the CD).The rich
\norchestral-style vocals of “If I Turn Away” are also very, very
\ngood, and set the tone for the song very well. Special kudos have
\nto go to the jazz stylings of “Forget You”; this is a very, very
\ndifferent sound for OP, and it works really well.<\/p>\n
In a final analysis, you do miss the sense of depth and richness
\nfrom previous OP recordings. Part of what made October Project was
\nthe interplay of Marina Belica and Mary Fahl’s vocals; while Julie
\nFlanders provides competent backing vocals, it’s just not quite the
\nsame. I also confess to missing Urbano Sanchez’ acute sense of
\npercussion. The band committed to recording this CD in a home
\nstudio, and therefore used only what resources they had available
\nin that home studio — but there are occasional moments where
\nDifferent Eyes<\/i> could have done with more real instruments
\nand less keyboard patches.<\/p>\n
Nevertheless, this is a very good CD, and bodes well for future
\nprojects. The band has immediate plans to begin recording a
\nfull-length CD (
\nDifferent Eyes<\/i> checks in at just over 23 minutes), probably
\nwith the participation of Sanchez and OP’s guitarist Dave Sabatino.
\nThat is something to definitely look forward to. If
\nDifferent Eyes<\/i> is the appetizer, I suspect the entr\u00e9e
\nwill be very, very good indeed.<\/p>\n