MEKANÏK DESTRUKTÏW KOMMANDÖH

Mëkanïk Dëstruktïẁ Kömmandöh ("Movement (of the) Destroying Commando Force"), Magma's 1973 album, is also their best-known release. It tells the story of Nëbëhr Gudahtt, a follower of Köhntarkösz (more on him/that album later) who convinces the Earthlings to finally give up their warlike ways and live in peaceful enlightenment. His message is rejected at first, but one by one, the Earthlings are swayed to his message.

MDK opens with "Hortz Fur Dëhn ?tekëhn Ẁe?t", and it is at this point where Magma truly invented zeuhl. There's an insistent, marching rhythm being pounded out by piano, topped with Kobaïan chanting. It's hypnotic and slow-building, and when the brass enters at around two minutes, the sense of doom is palpable. A small choir of female vocalists enters, adding soprano contrast to Klaus Blasquiz's lower intonations.

Throughout "Hortz Fur Dëhn ?tekëhn Ẁe?t", the interplay between the vocalists is strong, and though guitar is far from the lead instrument, its reintroduction is much appreciated. There's a powerful, militaristic quality to this song, and that atmosphere would go on to become one of Magma's signature elements.

Next comes "Ïma Sürï Dondaï", which opens with light, jazzy piano and vocals, but this quickly interpolates with big, impactful blasts of brass and the choir. Instrumentally, Vander's drumming is the real highlight here (as it is elsewhere on the album). Despite only being a little over four minutes, this song moves cohesively through a surprising amount of musical territory.

"Kobaïa Iss Dëh Hündïn" follows in the track list. It opens with foreboding guitars and piano, and continues MDK's strong forward momentum. The tinkling piano and chimes, coupled with the otherworldly vocals and dramatic horns, is one of the best examples of the prototypical zeuhl sound.

Side two of MDK opens with "Da Zeuhl Ẁortz Mëkanïk". Much like side one, the immediate impact is a doom-filled march. The atmosphere is oppressive, but it quickly gives way to something a little lighter. As much as I like the individual elements of this song, this is the one point on the album where things feel a bit drawn-out. There is plenty going on, and I understand that repetition is a key element of Magma's sound, but it doesn't quite 100% work for me here.

"Nëbëhr Gudahtt" has a gentle opening of insistent piano and some light bass work. Kobaïan vocals slowly enter, alongside spectral organ tones. The intensity gradually increases until it reaches a frenzied state by the song's midpoint.

"Mëkanïk Kömmandöh" features a bit of funk in the bassline, and the horns are especially jazzy. The organ has a lovely, swirling texture, and the near-ritualistic nature of the music is clearly conveyed in the repetition. The closing "Kreühn Köhrmahn Ïss Dëh Hündin" is much slower and more hymn-like than the preceding experimental space-jazz fury, though it does eventually build to a powerful climax.

Review originally posted here: theeliteextremophile.com/2022/04/18/deep-dive-magma/