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Magma - Mëkanïk Dëstruktïẁ Kömmandöh CD (album) cover

MËKANÏK DËSTRUKTÏẁ KÖMMANDÖH

Magma

 

Zeuhl

4.27 | 602 ratings

From Progarchives.com, the ultimate progressive rock music website

Conor Fynes
Prog Reviewer
3 stars 'Mëkanïk Dëstruktïẁ Kömmandöh' - Magma (6/10)

Considered by many Zeuhl afficionados to be Magma's defining work, Magma's 'MDK' is certainly not a piece of music that will appeal to many outside of the sub-genre's rabid following. Taking martial beats, an unsettling mixture of jazz and avant-opera and throwing it a flair for Teutonic ramblings to top off the style, it would be near-impossible to give a concise label to this music, had the 'Zeuhl' label not been developed to satisfy it. Christian Vander has composed a very interesting apocalyptic epic here, although while the genius of the music is evident, many of the unwelcome nuances and screechy vocal additions only deter from the enjoyment of what would otherwise be a very good avant-garde listen.

The two most prominent traits of 'MDK' are the orchestral/jazz instrumentation and the operatic singing. Ironically, the former is the album's greatest strength; the latter being the biggest weakness. At any given time, there will usually be several instrumental layers doing their own thing, only serving the intensity and dynamic of the music. Things are very repetitive, and while that might turn some people off of this music, I personally find that it can often be as pleasantly hypnotic in parts as it is irritating in others. Having a very strong military march feel about it, the music is slow but very looming and powerful. Contrasting the deep feel of the instruments are the generally high-pitched and whimsical vocals; most of which consists of shrill female chanting, or the absolutely deranged ramblings of Vander himself. There are a few vocals sections that work with the music, but the majority of those consist of baritone Teutonic chanting, which helps to give the music a 'scarier' feel.

The entirity of the album follows a very similar sound and flows very well as a result, at the loss of variety to the sound. However, at a length of thirty eight minutes, it doesn't go on long enough to get boring.

While there are certainly parts of this album that I know I will never be able to appreciate, the work is slowly growing on me, and I can certainly see why it is considered a masterpiece. However, in terms of how much I actually enjoy the album, there is plenty of music out there that I would be better off with.

Conor Fynes | 3/5 |

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