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October Tree

The Fairy's Wing

Review by Gary Hill

This is a cool melodic prog album. Most of the vocals are female, but there are male vocals, too. It’s the latest project from Greg Lounsberry and this time he’s joined by his wife. It’s arguably the most traditional prog oriented thing I’ve heard from him and the most polished sounding. It’s quite a strong release that’s a concept album. It’s certainly the one that’s likely to get him the most notice from the prog purists.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2012  Volume 4 at

Track by Track Review
The Fairy's Wing

The sounds of nature open this, then a melodic prog sound comes in and gradually grows out from there.  Surely Pink Floyd is a valid comparison early one. It coalesces from there into a melodic prog jam that’s quite tasty.  After the first vocal section (perhaps a bit Stevie Nicks-like) we get a new jam that includes all the prog elements, but with a bit of a more rock and roll based edge. More vocals are heard beyond and the track keeps evolving. There is a particularly tasty guitar solo late in the piece.

Dark Carnival
This has a more soulful element to it. It’s still progressive rock, but a lot more straightforward than the opener was. It’s got some space rock in it, too.
A mellower, balladic piece, this is nice. It’s got male vocals and has a real gentle feeling to it. Parts of the melody call to mind a Moody Blues piece.
The Ogre

There’s a harder and darker edge as this opens and that suits the title. After a short time it gains some real symphonic prog elements. As it grows out there’s kind of a theatrical texture, but not to the detriment of the killer progressive rock vibe. The cut continues to evolve from there and is a strong one.

Into the Glade

Dominated by acoustic guitar, this is a short instrumental that’s mellow and pretty.

Another melodic prog tune, there’s no big left turn here, but this might well be the most effective cut on show. The more energized section later is especially effective, featuring both killer bass work and some of the best vocals to this point. It’s an especially strong number.
There’s a melody early in this tune that seems quite familiar. Still, it’s a fairly short melodic progressive rock number with male vocals. It drops to a really classically tinged bit later in the number and then comes back out into something that’s rather Yes-like from there.
Mortis Urgan

A bit harder rocking, there’s almost a funky vibe to the rubbery rhythm section on this number. It’s another strong tune on a disc without any weak material. Some space rock is heard later on the tune.

Cult of the White Witch

Here we get an energetic progressive rock jam that leans at times on fusion. It’s strictly instrumental.


There’s definitely a harder edge and a bit of a “dangerous” vibe to this cut. It feels just a bit like Rush. It’s obviously the most dynamic and epic piece of the set, though, because it works through quite a few changes, become more melodic progressive rock as it continues. While some of this calls to mind Yes a bit, there are also bits that make me think of The Allman Brothers. It has some of the most powerful music of the disc accompanied by some of the most poignant vocals. That makes this a highlight of the set and certainly a great choice for closing things in style. The nature sounds return to take it out.

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