OCTO – Idyll
Release Date: 10th April 2026
Label: MÖRTEL SOUNDS
Bandcamp
Genre: Instrumental, Sludge, Noise Rock, Post-Metal.
FFO: Russian Circles, Pelican, Red Sparowes, Fugazi.
Review By: John Newlands
OCTO is an instrumental noise‑rock trio from Cologne, and since forming in 2011 they’ve carved out a space in the German noise‑rock underground. I’ll admit I came to Idyll with no prior knowledge of the band, but opening track Fairless Enough grabbed my attention immediately. It delivers all the expected hallmarks of instrumental noise rock with heavy riffs, sharp hooks and great grooves. Still, I couldn’t help feel that something was different about this band, but couldn’t put my finger on what it was. A glance at the press release sent to me by Metal Epidemic overlord “Big Daddy Dave” revealed the twist, not one but two bass guitars!!! It’s a bit of an unusual set-up, but once you hear the OCTO sound makes a bit more sense.
Track 2, Beachpiss the album’s longest track at just over nine minutes, is a good example of how OCTO can handle extended structures well. In this instance, despite its length, it never drags, instead unfolding with a sense of purpose and momentum. It’s well-placed in the running order and continues where the opening tack left off.
For me, one of the standout moments arrives with Track 4, Jazz Waffen Jemen. Here, one bass locks into a hypnotic, driving groove while the other takes on melodic duties, adding a swirl of psychedelia and noise as the track reaches its climax. It’s one of the best demonstrations of how the dual‑bass approach can create something genuinely distinctive and impressive. This is of note that this something the band do really well throughout the release and on a number of tracks, along with some great hooks and riffs.
Production across the board is very good, with a clear distinction between the different instruments and neither of the bass guitars become swamped or indistinguishable.
Unfortunately, I have a few niggles with Idyll. I’m generally a big fan of instrumental music, but Idyll is one of the rare cases where I occasionally felt something was missing. There are stretches where my attention drifted, or where I found myself imagining how vocals (or even a guitar, synth, or well‑placed sample) might have elevated the material. Whether this stems from the unconventional dual-bass set-up or simply the compositional choices it’s really hard to say, but the feeling recurred for me often enough to become noticeable.
At 45 minutes, the album also feels slightly overlong. A tighter 35‑minute runtime might have delivered a more focused and impactful experience. I’m unsure whether trimming individual tracks or cutting one entirely would be the better solution, but Track 6 Dopamine Gehirn stands out as the track I’d perhaps drop. It feels more drawn‑out than immersive, lacking the groove and immediacy found elsewhere on the LP.
On occasion Idyll also leans too heavily into repetition without offering enough variation or payoff. I questioned whether this was simply my listening mood, but after several plays on different dates at different times of day, and in different moods the same moments continued to test my patience. A mid‑section in the penultimate track Weil Du Zu Langsam Bist is a prime example where its repetition crosses from enjoyably hypnotic into mildly irritating.
The closing track, Buffalo Stands, is the shortest piece on the album and the only one to feature vocals. When they appear, they add a welcome new texture, though their sudden arrival at the very end makes them feel slightly tacked on. Still, it hints at an intriguing possible future direction for OCTO where vocals could play a more integrated role. However, whether that’s where the band is headed remains to be seen.
(3.5 / 5)
