CHRISTIAN VANDER: TRISTAN ET ISEULT [AKA: ẀURDAH ÏTAH] (OST)

Officially a Christian Vander solo album, Wurdah Itah is the work of the core members of Magma's classic 1973 - 1976 line up. The album was recorded in just 4 days as the soundtrack to a film version of Tristan Et Yseult, which by all accounts was less than a cinematic masterpiece, but the soundtrack more than compensates for that.

Wurdah Itah is the second movement of Theusz Hamtaahk (Time of Hatred). The third Movement, Mekanik Destruktiw Kommandoh, had been released the previous year, while the first movement, Theusz Hamtaahk, would not be released until 1981 on Retrospektiw, although an excellent version was recorded for the BBC in 1974 and can be heard on BBC 1974 Londres. All three parts were performed in their entirety on the 2000 tour, and can be heard on the excellent Theusz Hamtaahk Trilogie box set.

This is a very stripped down version of Magma: no choir, no horn section, not even a guitarist or a second keyboard player. Chris Cutler called it the clearest and most concentrated of Vander's work, and this album is a good demonstration of the melodic side of Magma. Although it is broken down into 12 short pieces, the album is really 2 lengthy sequences - tracks 1 - 6 (side 1 of the vinyl original) and tracks 7 - 12 (side 2). Live, it is performed as a continuous piece in the same way as Magma's other epics. The opening bars are the same as Theusz Hamtaahk, while later on in the album themes that would be more fully developed on MDK can be heard. These leitmotivs give the trilogy a sense of cohesion which which really falls into place when the pieces are heard in order. The wonderful Carl Orff style vocals familiar from other Magma albums are the dominant sound on this album, with Klaus Blasquiz heard to particularly good effect. Jannick Top turns in a superbly judged performance; subtle and understated without a single extraneous note. Vander likewise plays the drums with a delicate precision that the larger Magma line ups sometimes drowned out, while his piano playing is solid and assured and shows the influence of McCoy Tyner from John Coltrane's classic quartet.

Wurdah Itah is an essential part of Magma's output from their greatest era, and is a vital addition to any collection which contains MDK or Kontarkohsz. Whilst it may be atypical Magma, it could well be Christian Vander's masterpiece.

1974 was the critical hour of many musical outfits, including Magma. This album took quite a while to reveal its potential for me, but it was very rewarding. It shows us the vision of Christian Vander in its most refined version, of true human beings creating music together, of inflicting true emotions of primitive qualities - either aweful or joyous wonder. Simple building blocks create elaborate buildings, these guys could go on forever.

Klaus is both mephisto himself and the most innocent of childs, Janik's bass is unimaginable, when it plays along with the piano it creates the most unique mass of sound, Christian implies his tribal touch on his crispy drums, like a heartbeat, and when Stella sings with Klaus they do so wonderful things, uncomparable singing. Altogether it's a colorful dance of life. In my opinion, one of the best records ever.

Solo album of Christian VANDER released in 1974 "Wurdar Itah". Work released in haste because it was used for sound track of movie though Demotac is unpermission. Music is a work of MAGMA on substance though it is a name of Christian VANDER. The tune divided into 12, and was performed continuously without the interval. The player is false name. This might be a problem in the contract. Here is an information: Klotz Zaspiaahk is Klaus BLASQUIZ (vocals, percussion) Wahrgenuhr Reugehlem Esteh is Jannick TOP (bass) Tauhd Zai is Stella VARDER ('vocals) Zebehn Strain De Geustaah is Christian VANDER (piano, keyboards, drums, vocals)

Exellent masterpiece.The album for every MAGMA fans.Highly recommended.

Stunning album! Often credited as a Vander solo album but it sounds mostly like Magma then anything else. With Klaus on vocals it's pretty hard to call it something else than Magma. I've never seen the movie that goes with this soundtrack but judging by the music it must be one of weirdest movie on earth! In overall, Wurdah Ïtah is a very good album, not as epic as MDK or groovy as Üdü Wüdü but still pretty much outstanding! A much more jazzy album than what I'm used to hear from Magma. Anyone should that has the chance to own this shouldn't let it go away, even if you never hear Vander's music before. I did appreciated it a lot but not as much as a true Magma album. Certainly worth 4, or 4.5 stars! Let the cultness of Magma grow on you!

This is part II of Trilogie Theusz Hamtaahk" (part III is Mekanik Destruktiw Kommandoh) What can i say that not already been said except this is a masterpiece from a to z (ø in norway) Stripped down version with only bass,drums,piano and vocals. This is a good place to start if you dont know Magma. The Whole album is a stunning, with many different moods, but beautiful linked together, BUY IT!!

Just in case you weren't already convinced that Magma were mysterious and esoteric, Christian Vander opts to keep releasing the chapters of his musical trilogy in reverse order, soon to confound us by deciding to begin a new story (in Kohntarkosz) before we have a chance to become familiar with the last. None of this is threatening or worrying to the Magma fan as it assures the continued flow of high quality music.

Although this score was presented as a soundtrack to a movie, it has a very definite plot of its own, coming just before the time Nebehr Gudahtt converted us all to Kohrmanites. Perusing my Kobaian to English dictionary, I learn that Wurdah Ïtah means "Dead Earth" - this album may well represent our crimes against the earth and the corresponding penalty to the human soul, necessitating our need to be saved spiritually by an outside hand.

Musically refined, the album's core players each stand out more than they ever could on MDK, and a few hidden talents are revealed - Vander himself plays all keyboards here, and they play an important role, being that the piano is perhaps the most omnipresent instrument on Wurdah Ïtah. Jannick Top reprises his role as the bass-playing reflection of Vander's eccentric rhythms, while being utterly attuned to the simple but original keyboard patterns, giving the music a flawless underpinning. Not enough is written about the voices of Stella Vander or Klaus Blasquiz, perhaps because Magma are rightfully an ensemble at this stage, but their singing is exemplary, maintaining a choral theme throughout while both managing to express their invididual vocal proficiencies. At this point in their career, Magma could have one of the most professional line-ups ever assembled.

As always, the succinct yet curiously misleading synopsis of zeuhl is "contemporary operatic jazz rock", with prayers and prophecies repeatedly chanted in an alien language while hypnotic countercurrents swirl beneath, making the whole affair seem more like a ritual than a song. - Themes and motifs previously heard on MDK are also present here, hinting at the trilogy's underlying operatic continuity. Flow and consistency are maintained throughout each side-long suite, making it difficult to suggest any individual part as exceptional, but overall the music is delightful and original - I remain amazed that no-one had the idea to write this type of music before Magma (allowing for Orff's opus and the music of Coltrane and Redding as roots) as it seems so natural, defying its complicated nature with a real sense of rightness. Subsequent bands have identified this and tried to further to path of zeuhl - in particular I associate the music of Koenji Hyakkei with this album more than any other as it is here that the most exuberant vocal lines appear, sometimes pushed further into the foreground by signatures designed to frame them perfectly.

This would be a good introduction into the Kobaian world. Keep your eyes open, because it has a hundred different covers splitting credit between Magma and Vander himself, but don't worry about which you choose as I've never discovered a version with bonus material.

This Magma bizarrerie was issued as a Vander solo album, even if the spine of the band is present. But really, please regard it as a full-fledged Magma album, because this is the second installment of the Theusz Hamtaahk (Time of Hatred) trilogy. Wurdah Itah (Dead Earth), most likely a Kobaian message to earthlings wasting the planet. Presenting a reduced line-up, but still featuring the four Magma essentials, the pounding bass (J Top), the powerful but subtle drumming (Vander, also playing some keyboards, including the piano, another trademark), the Orff-inspired choir vocals (just Stella - Vander's wife - and Blasquiz), all four elements coming off clearer, less embedded than when the full Magma outfit is playing. This was supposed to be a soundtrack to a doubtful artistic and seldom-seen film, but let's face it: the present album is all you need.

If you are a more casual fan of the band, the subtleties will probably not appear immediately, especially so that there are quite a few motifs that had been used in MDK (Theusz Hamtaahk's final instalment released two years before), necessary for the full trilogy representations as a recurring theme linking/bridging the different sections, but here having a sense of déjà-vu. The stripped-down line-up (no guitars, flute, brass, large choirs and other keyboards present here) is actually the main (if not the only) novelty, when compared with the rest of the oeuvre. On the other hand the lesser density of the music gives us a chance to analyse easier how the music is built and just for that fact alone, Wurdah Itah is worth a few spins. You can even detect Vander's fascination with Trane's pianist, the awesome McCoy Tyner. (once again, I thank my friend Chris Gleeson-Syzygy for his outstanding review of this album, as this fact had escaped me before, until it became evident after reading it)

Presented as a series of short tracks (12 in all), this album is really made of two sidelong epics, apparently both melting into a single number once played in concert. Whether you shall consider this album essential is probably dependant on the number of albums you already own, but if you are just starting out, this album should get a certain priority, partly because of its stripped-to-the-bone quality, even making it a likely good introduction to Mazgma's Kobaian tales of tragedy and quests for salvation.

This was originally released as a movie soundtrack. It's very similar in style to "MDK" but without the relentless chanting. Also we're down to four members for this one with Vander on drums and piano, Top on bass, Blasquiz does a little percussion, but he and Stella Vander are here to do the vocal melodies. All the songs blend into one another except for song 6 making it seem like your listening to two long tracks that flow beautifully.

"Malawelekaahm" hits the ground running with piano, vocals and drums. It calms down quickly with soft vocals and the rest of the band is playing quieter now. "Bradia Da Zimehn Iegah" features theatrical vocals as it starts to get tense. "Fur Dihhel Kobaia" is a great uptempo song with prominant drumming, female vocals and a frenzied ending. "Blum Tendiwa" builds up to a point and then starts to do the oposite as it calms down. This is really good.

"Wohldunt Mem Deweless" is all about the male and female vocals as they rise to a fevered pitch. "Wainsaht" features Vander's strange vocals as piano and drums lead the way instrumentally as usual on this album. "Wlasik Steuhn Kobaia" has some great drumming followed by a piano solo. "Sehnnteht Dros Wurdah Sums" features male and female vocals that build to a dramatic ending. "C'est La Vie Qui Les A Menes La !" has a drum and piano melody and the vocals are cool 4 minutes in. "Ek Sun Da Zess" has some great fat bass lines while the final track has more of Vander's crazy vocals.

This really seems like a companion to "MDK" with each album having it's own good qualities.

After a huge composition like the grandiose Mekanïk Destruktïw Kommandöh, Magma (more specifically Christian Vander) decided to shave off the unnecessities, and all the encumbering layers, and just do the basics. All horns have been stripped, the choir is greatly toned down, and even keyboards and guitars make no appearance. The music is purely made up of Vander's brilliant drumming (much higher in the mix compared to Mekanïk), Top's stellar bass playing, vocals from Blasquiz (most prominently), Stellar and Christian Vander, and lastly, piano from Christian. Despite a small line up, and a small selection of instruments (drums, bass, piano, vocals) Magma still manage to create a truly big sound. Christian has said in an interview that he always perceived Magma as a sort of huge choir, made up of hundreds and hundreds of voices. Even when they are limited to four musicians, four days of recording, and four instruments to work with, Magma still create that massive sound here, on their fifth album.

Though originally labeled as a Christian Vander solo project, it is now generally credited as a Magma album. It was originally made as the soundtrack to a Yvan Lagrange film, Tristan et Yseult, but undoubtedly is fully enjoyable away from the film. The concept of the album is entirely independent from the film's, as well. The jazzy element of their original two albums has not really been reincarnated here (not yet), and the slowly building and massively climaxing style of Köhntarkosz is not at all developed. Instead, they focus again on the very classical and grand style of Mekanïk Destruktïw Kommandöh, with the only difference being, again, the size.

Conceptually, I must admit, I know much, much less of the concept behind this release. The only clues the booklet offers are the words "Second Movement of Theusz Hamtaahk," which is virtually the only information I could dig up about the album on the internet. Since I know nothing about this specific movement, I will tell you what I know about Theusz Hamtaahk in general. It translates to "Time of Hatred" and is, in addition to being the name of the entire cycle, the name of the first movement in the cycle. The second movement is this, Wurdah Ïtah, and the third is the legendary Mekanïk Destruktïw Kommandöh. Theusz Hamtaahk is the period of time between the leaving of the Kobaïans from Earth (which occurred at the end of 1001º Centigrades) and concludes with the march to spiritual enlightenment which occurs at the end of Mekanïk Destruktïw Kommandöh. This was a violent and destructive time for Earth, and the only thing that brought about its end was the wisdom of the Kobaïans.

Musically, the downsizing of the line-up has no negative effect on the sound. The compositions are incredibly strong, and more sophisticated and matured than ever. Memorable and plain awesome moments appear throughout. These moments are, most notably, caused by the brilliant piano and Fender Rhodes sequences from Vander. They are touching and powerful, and sometimes call on recognizable themes from Mekanïk Destruktïw Kommandöh: a trick that I personally fall for instantly. The vocal work is not dissonant like it sometimes was on Mekanïk Destruktïw Kommandöh and their debut, but is instead, like the rest of the instruments, extremely symphonic and orchestral.

Though it is not quite as large as the previous releases, and the concept and/or story is vaguer than ever, the compositions are equally strong than anything they've previously released. If not, better. The arrangements are interesting, the playing is inspired and tight, and the atmosphere is still entirely capturing. This is a Zeuhl essential.

I've put off writing this review, simply because the I find the music on this album so touching and awe-inspiring that I'm in danger of drooling out one of those unrestrained and unhelpful reviews that betray a complete and utter lack of judgement on the part of the reviewer. (What's that you say...? Nothing new there.? Oh well. all I can do is try!) But as entirely personal as any review must inevitably be, this one will be perhaps even more personal than usual. I promise to keep the dribbling and raving to an absolute minimum, though.! The usual pre-amble apologising for any unwitting pretension applies, naturally.

First of all, context: you most likely already know that this album is credited to Christian Vander, but it is accepted as a Magma album. It's the core of the band, shorn of all fripperies and fol-de-rols. Also, it's supposedly the soundtrack to the (apparently 'so bad it's BAD') movie 'Tristan et Iseult'. However, since the guy who made the film half-inched the band's somewhat unrefined rehearsal tapes to use in the actual movie, and also since the content of the music has about as much to do with Tristan and Iseult as it does with Charley's Aunt, I wouldn't let that distract you for a single second. In reality, it is, as the booklet says, the second movement of the 'Theusz Hamtaahk' trilogy, and is therefore categorically not a love story. (Try Youtube for some quite unintentionally-hilarious clips from the film!)

Secondly, I'll move on to the sound of the album. Magma's music finds its expression in an extremely varied palette of different moods, styles, orchestrations and textures, across all their albums. Whilst this arrangement fits firmly into what I delight in calling their 'doom oratorio' period (!), it's rather different from the thick, dark surge of 'Mekanïk Destruktïw Kommandöh'. On this record, only four musicians are credited, instead of the small regiment of players on 'MDK'. That doesn't mean that this music sounds sparse or bare - but it is very much more subtle, clear, elegant and controlled than 'MDK'. No bumptious choruses here - no blaring brass - and absolutely no ragged edges. It's very devotional, pure-sounding and extremely emotional (sort of as if the usual hysteria is being countered very firmly by melancholy). 'Discipline' is an oft-bandied word where Magma is concerned. I guess normally, it is used to refer to the all-powerful, controlled-and-controlling rhythms. But the discipline on this record seems to have permeated every aspect of it. Somewhat like poetry - poised - constrained by a complex meter.

The most obvious idiosyncracy in the arrangement is the way the piano is pushed to the forefront. And it's used so effectively - the endlessly shifting, chiming layers add a sort of emotional current, a tidal swell, to the music. Chords bleed into chords, pressing every sentimental button, but never to excess. Somehow there is a greatly cathartic element to 'Wurdah Ïtah', but not to an unpleasant or unbearable degree. The piano never quite goes too far in circling around these intense feelings. Then there's the bass - Jannick Top in perfectly restrained mode. Let's face it, sometimes he is just a big show off. And who could blame him, given what he can do? But here his every contribution is discreet, almost modest. This piece would not support a full-on Zeuhl Bass Tantrum, and the more-reserved-than-usual playing is absolutely right here.

No Vander composition would be complete of course without mind-boggling percussion, and this is no exception. Again, however, this is not your customary Zeuhl Fireworks Extravaganza! Suitable descriptors would be soft, tender, subtle, sensitive. That's not to say that any sloppiness or sentimentality creeps in, though.

Now, the voices! It's been said by many others that despite the reduced ranks performing on this album, it feels even more 'choral' than ever. You don't need a gaggle of singers, it seems, to produce this effect - just the breathtaking combination of complete precision and heartfelt emotion that is managed here. You'll hear a surprising amount of Christian Vander's singing voice (well, maybe not 'surprising', given that it's his record and all.). That rapt little trill that he does at the end of a note decorates many a phrase. The warmth, drama and range of Klaus Blasquiz is everywhere too, enhanced and supported by Stella Vander's eloquently changeable, soft-then-strident voice. Again, every note is apposite - nothing unnecessary is attempted, and nothing is lacking either.

Thirdly, how about the mood of this album? Many people call this piece 'distilled essence of Magma', and it is, but more than that it's 'distilled essence of Vander'. There's that ebb and flow of unquenchable feeling, the progressive/narrative feel to the structure, with all the typically-Vanderish ritual/devotional repetitions and mind-jarring rhythmic contradictions, all somehow concentrated and purified and made into 'more than the sum of their parts'. The first time I heard this record, my mental image of it was of a private ritual, for the 'inner circle' only of some kind of mystical cult. Magma is possibly the definitive 'cult band' - inspiring devotion and revulsion in equal measure, and replete with iconography (and of course the ultimate in secret words - the Kobaïan language). On this record, they inhabit that 'cult' air so completely that you feel you are eavesdropping on a secret ceremony. By contrast, 'MDK' is like a public service broadcast of some kind of enthusiastic Kobaïan carol service! (That, by the way, is no criticism - I always feel as though 'MDK' is designed for singing along, joining in - there's a 'municipal' quality to it that I really love!)

Well, after all those words, I'd better come to a swift conclusion. I don't want you all collapsing with boredom! (Or is it too late for that, I wonder?!) Ok, so here goes. This has become the record that I put on if I have had a particularly bad, emotionally-draining day. As I listen to it, I can feel some kind of balance and calmness returning to me, a certain subdued relaxation - starting from the toes up! In this music, the two key Magma elements (precision and emotion) are so finely balanced, it is so well-executed (via a composition of undeniable clarity and quality, and nigh-perfect performances), that I almost feel it could be their best album - except of course that all of Magma's really great albums are pretty much equally great. Picking a favourite/'the best' is impossible. If you like to start your acquaintance with a band by diving into the 'real stuff' (as opposed to 'easing in gently' - so to speak! - with something more 'palatable'), then you might give this a go as your first Magma. Especially if you are not fazed by 'weird music'. (Weird is only a matter of opinion, after all.) I know if I'd heard this first, I'd have loved it straight away. My heart wants to give it five stars, but because it's not the sort of thing everybody will jump for joy over, I think I'll give it four. This is a sublime album; maybe not essential for all, but I recommend it wholeheartedly.

Oh, you caught me chanting to another haunting masterpiece. Sorry about that.

Yes, yes, I know. This isn't really a Magma album and more of a Christian Vander solo album that was supposed to be adapted to a film that is probably very corny/cheesy/bad and I know I opened this review up by rambling about for a bit. Alright, humor aside, yes, this is a Vander solo album that got shuffled into the Magma set, most likely because he brought on his wife, Blasquiz, and Top for this wild ride. And if you've heard any Magma, this is certainly not going to be a ride that eases up. However, it is easily just as enjoyable as most of the other Magma catalog (Merci? What's that?).

The songs on here are in the shorter vein, as none of them go outside the 3-5 minute range, but at the same time, this could be considered one whole extended piece. The vocals are just a manic as ever, the bass and drums retain their awe-inspiring power, and despite the loss of what is basically half an orchestra, this still remains a very important highlight in the discography of the best crazed jazz-rock spinoff to ever reach us Earthlings from the Planet Kobaia far away. Normally I'd point out a few of my favorite tracks, but I tend to think of this album as one 39 minute song anyway, so to me the whole album is in and of itself a highlight. If you already like Magma and don't have this album, what are you waiting for? If you haven't heard any Magma yet, this along with MDK is probably the best place to start. Actually, this might be slightly more accessible than MDK to most newcomers as it doesn't quite have the relentless, never-ending chanting in it. Definitely a 5 star masterpiece in every way, shape, and form nonetheless.

MDK vol.2

If a fan, then you must have been already looking to see that film and find out if Wurdah Ïtah conforms to the greatest difference between a film and its soundtrack ever. This album, unfortunately less known Magma's masterpiece, perhaps stands out as their most subtle and one of the most accomplished works. It was labeled as Vander's solo album and the probable reason is only four members being involved in the recording process, then I suppose that half of Magma's discography are Vander's solo albums as well. Wurdah Ïtah means "dead earth", but it's not the only reason why this album sounds like MDK's conceptual continuation, despite the music sounding quite different (note, we had to find out that Wurdah Itah is actually supposed to be predecessor of MDK, in 2000 when Theusz Hamtaahk Trilogie came out). It really impresses how musically different from each other every their album is, and yet manages to remain well recognizable as Magma album and always includes some of the common characteristic features of their sound, besides of the operatic/weird vocals. Wurdah Ïtah is either 'non-repetitive' MDK with emphasized piano in place of brass section, or some incredible blend of Rïah Sahïltaahk (without sax) and MDK. On this album, Vander stands out as an outstanding and very original composer, and also an excellent pianist (rather than great drummer this time). Original use of bass and thought-out percussion as usual elements of their music are also presented. I don't know if it was originally supposed to be a 'soundtrack', but the music flows as one composition, however, unlike single* MDK, Wurdah Ïtah has two interruptions. As for the musical content, this is probably least repetitive Magma's composition since Rïah Sahïltaahk, and probably most 'subtle' one, it doesn't have that immediate knockdown impact of brainwashing MDK, but this is an epitome of musical subtlety and requires both of attention and being open-minded (and using your brains a bit). And... does it need to be said that comparisons with their other albums was all I had to do? Listening to Magma, word 'unique' takes on a new meaning.

* - MDK was single because it was supposed to be, side B opened just exactly like side A closed. Wurdah Ïtah isn't. It has two interruptions without any transitions.

Malawëlëkaahm. Complex musical stucture, complex time signatures, absolutely unpredictable melody and harmonies. Edgy intro is followed by a chanting melody which I consider album's analog of "ziss ünt et- nah", although it's male chanting and more catchy than hypnotic this time. Unconventional musical structure and absolutely bizarre use of bass and piano make this part the most 'subtle' and one of the best parts of the album.

Bradïa Da Zïmehn Iëgah. Full of weird tension, mostly caused by the bass line and everything else that plays the same melody. Ends in almost avant-garde chaos to get suddenly interrupted by the next part.

Manëh Fur Da Zëss. The way how the previous part got interrupted by this bare piano with bass sound and some laugh in the background is... impressive. It needs to be said that first three parts were the climax of the album, and the rest of the album will never get the same level of intension and originality. Consider that the first parts were about Earth's death and the rest is about Kobaïan life. Further parts Fur Dihhël Kobaïa, Blüm Tendiwa and Wohldünt Maem Dëwëlëss progress in relatively peaceful 'operatic' manner, and are not so unpredictable, especially 'repetitive' Blüm Tendiwa with that characteristic building-up. Blüm Tendiwa fades out at the end, so it's another interruption besides of the one which is caused by the LP format.

Wainsaht !!!'s intro is another 'weird' surprise of the album with some 'nasal' sounding, Wlasïk Steuhn Kobaïa ends with a fantastic piano solo, Sëhnntëht Dros Wurdah Süms, besides of the chant reminding of MDK at times, continues that 'catchy' line from the opener, C'est La Vie Qui Les A Menés Là ! comes closer to the tension of the first half of Side A and ends with another amazing piano solo (if I'm going to learn how to play Wurdah Itah, I'll fail because of this solo), Ëk Sün Da Zëss slowly leads to De Zeuhl Ündazïr, motherland... basically, it uses some themes from MDK, moreover, a theme which will be used in K.A. Let's notice that, at the very end, piano sounded menacingly again...like a reminder of the first parts.

If you think that MDK would be better if it was less repetitive, with less relentless and aggressive vocals and less intense orchestration, give this a try. This is Zeuhl at its most subtle side, and neither too 'celestial', nor too dark (merged but different parts, balancing each other, create neutral mood eventually)(still, it sounds like Kobaïan people celebrate "Wurdah Ïtah" rather than arrange a mourning). I wouldn't recommend this album to Magma newcomers, because it's a complex album by any means, but it still remains one of Magma's grandest achievements and gets deserved masterpiece status.

EDIT: Just dropped a star. It's still a terrific album. First tracks are five stars material, but I honestly don't think the rest of the album is on the same level. 4.5 stars will have to go.

Wurdah Itah was originally released as a Vander solo album but it has since gained its place amongst the real Magma albums, and rightfully so. However, the number of ratings on PA suggests that not all Magma fans have discovered this album yet. So here's a little teaser!

Wurdah Itah forms the second part of trilogy of which the MDK album from 1973 is the conclusion. The opening part is Theusz Hamtaahk, a piece which has never seen a regular studio release but which is featured on a couple of live albums of which the BBC London 1974 is most familiar to me. Needless to say, it's brilliant as well.

Christian Vander gathered a couple of Magma friends and his wife Stella Vander around him to record this album. With the ever impressive Jannick Top on bass and Vander on drums and piano, the instrumentation is as sparse as you will ever find on a Magma album. But by stripping down the excessive arrangements of MDK, the pure power of Magma's music really comes to the fore here. The music is slightly similar to MDK, but it sounds more energetic and focused. The muddled production and unbalanced mix that spoilt some of the MDK experience for me, are completely dealt with here.

This album is sequenced into 11 tracks, but it actually contains 2 continuous pieces of 19.30 minutes each, both of them heavy with gruff bass, piano, forceful drumming and a small choir consisting of mr & mrs Vander and Klaus Blasquiz. The rhythms are wild and disconcerting, the piano and vocals are dark and intense and the composition is simply brilliant. For me, Wurdah Itah is one of the few examples where rock music (RIO) manages to mould influences from Stravinsky and Bartok to something that reaches comparable artistic heights. It's never an obvious copy of the master, the addition of jazz influences and the extraordinary vocals make it entirely unique.

This album renders the essence of Magma's lyrical, rhythmical and vocal side. Together with Köhntarkösz, which presents a more rocking sound with less vocals and an even darker atmosphere, it is the essential Magma studio pick for me.

Magma - Wurdah Itah (1974)

This makes the prog-giants look silly...

By the time Magma had released MDK is was clear they were a band playing in their own league. They have little to do with 'ordinary' progressive rock, hence the sub-genre 'Zeuhl'. On the Wurdah Itah album, which was released as a Christian Vander solo-album, the band has less members. This problem was solved by the unbelievable composition of Vander, which doesn't give you a moment to doubt about this 'stripped' Magma crew.

Ok, right now I'm searching words to describe this extraordinary album. Well, it's just a bit more of everything when comparing it to MDK. It's more melodic, it has many even darker moments (like the opening section), it's more hypnotic, it's has great vocal performances as well as sublime choir performances, it's extremely atmospheric, it has a lot of tension.. it just has everything! The technical and rhythmically extremely challenging compositions of Vander seems almost impossible to play, yet the Magma crew doesn't seem to have any problems with it. Even on the Trianon version of the song the band manages to play the album faultless. Wurdah Itah has some great atmospheric parts, as well as beautiful melodic parts (without being dark or too technical). Perhaps one could say there are some world music influences. There's only one part on the album I don't like too much, which is 'dwarfsong-like passage'. All other parts are between great and divine.

Conclusion. Perhaps not the best way to start your Magma collection, for this album is extremely challenging. The opening section is hard to digest, though perhaps the rest of the album is quite relaxing for fans of the band. This album is for me a perfect combination of technical and atmospheric genius. Since this is quite rare this is something to consider whilst listening to Magma. This is top 10 PA material. Five stars.

Ẁurdah Ïtah is the fourth album released by Magma. This album is the second in the Theusz Hamtaahk trilogy, placed between Theusz Hamtaahk (which is only available on live recordings) and MDK. After their previous masterpiece (MDK), this one (which as others mention, was officially released as a Christian Vander solo album) continues on in basically the same style, but with a very stripped down lineup. Gone are the horns, gone is the guitar, gone are the female vocalists (except Stella). Vander himself plays drums, adds vocals, plays the piano/keyboard parts, and some auxiliary percussion. Klaus sings and plays some hand percussions. Stella only sings, Jannick (as always) only plays some thundering bass. What the band lost in lineup, they didn't lose in quality of material, though - this one is nearly on par with MDK. For my tastes, it's not quite at the same level, but it is very close. The chant on this album isn't as all-encompassing as on MDK. Just like that album (and Köhntarkösz, and K.A., and Ëmëhntëhtt-Ré, and Theusz Hamtaahk) this one is technically one big epic. Pointing out specific "favorite tracks" isn't the way to go with many of Magma's albums, as they're meant to be heard in their entirety.

Rating for this one is difficult for me - I love it quite a lot, as I love many Magma albums, but as I said it's not quite at the same level as my favorite Magma studio albums. Thus, I give it four stars - still an excellent (beyond excellent, really) addition to any prog collection. Would be four and a half if we had half stars here.

Theusz Hamtaahk Part 2

The antecessor of M.D.K. story-wise, Ẁurdah Ïtah was conceived as a Christian Vander solo album, the mastermind of Magma. Although compositionally you'll find this similar to M.D.K., Wurdah Itah unfortunately lacks the 'grandiose', the 'opera', the 'ecstatic', the 'amazing' (and so on) feel of Part 3 of Theusz Hamtaahk.

Why the hell did Christian sacrifice the brass instruments and the big choir? Those were the main components of M.D.K. and what made that album so amazing; you had the tension and the complexity done by those features. Wurdah Itah sounds like empty in that aspect, though it has grown on me, it's great to listen to Vander playing the piano all through this record.

Mind you, there still is Christian, Stella and Klaus Blasquiz singing operatically, but it's by no means as intense as the choral work featured in M.D.K., still there's lot of angelical moments, mainly when the vocals are alone with the piano.

Like I said, compositionally this is similar to M.D.K., Wurdah Itah is also one single piece of 38 minutes splitted in various tracks, in which each track progresses from calmer rhythms to more intense ones, so don't expect this album to be inferior in a compositional level, if not in a execution one, Ẁurdah Ïtah doesn't reach such a climax as the sixth track, 'Mekanik Kommandoh', of the aforementioned album does.

To conclude I'll just restate that this album for me sounds rather empty compared to M.D.K. and that if it weren't for that emptiness Ẁurdah Ïtah could have been another masterful Magma album.

3.5 stars: Of course still excellent in compositional quality and the unique feature of this album, which is Christian's extensive piano work, is a great thing to hear. This is undoubtedly a must for Magma fans, but for the rest of Prog fans this is not really essentially listening as M.D.K. is.

Not very different from MDK, so another masterpiece. The second chapter of this "reverse- order" trilogy is at the same level of its predecessor with just two main differences: first of all as many other reviewers have correctly underlined this is officially a Christian Vander's solo album. Second difference, no brasses or orchestra here.

Being played by less instruments/instrumentists, doesn't make it sound flat and allows a full appreciation of the composing and arranging skills of Vander.

The repetitive parts are what I prefer in Magma's music. I mean when vocals are rhytmically repeated to increase the strength of the rhythmic parts. The way they alternate with jazzy moments is unique.

The best tracks are, for me, the two with the word Kobaia in the title. I don't speak Kobaian and I'm not intentioned to learn it. I sometimes take care of lyrics as they can provide a key to understand what an artist is trying to communicate. This is not the case with Magma.

I have never payed attention to the Kobaian stuff and I have learned that there was a trilogy only reading other's reviews. The reason why I listen to Magma is that I like their music and their vision of music. In their specific case, not knowing what the songs are about leaves me the possibility to imagine situations, build images in my mind and give to the music a meaning that it may not have.

So even if there are lyrics and choirs (and the incredibly voice of Stella Vander), I listen to this album as to a long instrumental suite able to evocate imagines and situations as other great instrumental suites are able to do.

Sticking more to this album, it's a classical Magma release in the vein of MDK and reaches the same huge results even without the orchestral parts. Vander is more known as drummer but let me remark his piano playing, too.

It's a masterpiece. Of course one has to be a Zeuhl fan or at least wishing to discover what Zeuhl is to appreciate it, so not for neo-prog fans but I can't rate it with less than 5 stars. C'est la vie qui les a menés là.....

Wurdah Itah ? 1974 (4/5) 12 ? Best Song: No point in wondering Now this is more like it, you pretentious freaks! Wurdah Itah takes the soft, stripped down throb of, er, that one I reviewed last time and combines it with the staunch howling angel-hell of the choirs and opera singers. This, to me at least, adds the full attack of Magma excitement into the maelstrom of mind-screw and offers us one of the band's absolute best. Another fine addition to the persona of the album is the stumbling aura of paranoid schizophrenia and mental disorder. The first handful of songs drop in and out rampantly and unexpectedly, giving the record that interconnected, smoothed and gapless rock-symphony feeling. It sways and shoots in and out between shuffling piano marches and raging hectic climaxes, like the best Magma to sample and taste.

I can also see the group slowly evolving and taking elements of popular music into their paradigm. Couldn't you imagine 'Fur Di Hel Kobaia' on the billboard charts right up there? I sure can, but I also took a few hits of acid this morning and can't exactly trust my judgments in these situations. You'll notice the stripped-down nature of the record in that it isn't anything more than piano, martial chanting, simplistic, but, omnidimensional percussion, and bass guitars. 'Wainsaht!!!' is a series of short, sharp, brainwashing shocks that are punctuated by a robotic-alien-encoded vocal spewing what I can only imagine is anti-earthling hate-speech to his various cohorts who congregate together in a structured dance of awkward harmonizing.

Even if the songs are separated every few minutes, you'd be best off taking it as one full experience. There aren't any real highlights or low points for me. It's all consistently entertaining and energetic, but it's also desperately uninventive for the band's standards, and the songs tend to blend together, lacking singular identities, but as I always felt, the best Magma is an experience more than an actual album of songs.

I'm thinking of an Off-Broadway musical rock opera performed by escaped patients from a sanitarium who are convinced that they are among an elite class of citizens from an undiscovered country between Germany and Denmark. They also forgot to bring a guitar for their opening night performance, so the piano has to make up for the missing instrument by being perpetually busy while the bass is given some extra volume as further compensation. And the drums, those rhythmic patterns that make a 4/4 beat sound downright vital and visionary at times, like jazz musicians forced at gunpoint into a marching band.

The vocals are the key as to whether this album clicks or not. Admittedly, the first time I listened to this opus there were times in which I almost had to laugh. Not being invested enough in this particular piece of art, it was difficult accepting the fact that these guys & gal were belting out complete gibberish with conviction, heart and a ton of vibrato without finding the whole concept a bit goofy. Certainly during the second track or the hilarious Ẁaïnsaht!!!, the vocals emote in an operatic fashion quite clearly over the somewhat sparse number of instruments, like a smorgasbord of Teutonic blathering that only those in the land of Magma can comprehend. And yet I suppose it's not mere blathering since it is an actual created language and not just pointless syllable spouting.

The fact that this monstrous piece was also a soundtrack to an art film about two ill-fated lovers makes Wurdah Itah an even more enigmatic creation. The music is often as sweeping and romantic as two helicopters colliding, but I haven't seen the film, so I can't say whether the soundtrack gives the film a reason for viewing, although I've never heard "Tristan and Isolde" ever mentioned alongside heralded French films of the early 70s.

It's jazzy with a driving beat. It's a bit wacky and wild with the choirs and vocals, but strip away the language barrier and the voices themselves are quite skillful. Speaking of skillful, Vander does not mess around on drums & piano. The album flows by pretty fast as these short tracks blend into each other. It took a few listens, but I eventually got it, and I'm looking forward to checking out some more Magma material in the future.

In theory a Christian Vander solo project to provide a soundtrack for an Arthurian-themed art movie, Wurdah Itah was in fact the second part of the Theusz Hamtaahk trilogy that also includes Mekanik Destruktiw Kommandoh. Because of the limitations of the budget provided to record the soundtrack, the album was recorded with a stripped-down Magma lineup - Vander on drums and piano, Jannick Top on bass and Klaus Blasquiz on percussion. Most importantly, though, is that three of the four performers contribute to the vocals, and against the scaled-back instrumental backdrop Wurdah Itah does a wonderful job of demonstrating the power of the human voice as an instrument and its importance to Magma's music. The advantage of singing all the songs on Kobaian, after all, is that this frees the listener from trying to listen to the words - because they won't understand them - and lets them just sit back and appreciate the sound created by them. A wonderful, delicate counterpoint to the apocalyptic fury of MDK, Wurdah Itah is yet another Magma achievement, made all the better by the unusual approach taken with the instrumentation on this album.

Zeuhl is marmite. You either get it (suspend the disbelief) or you don't. It's hard to describe this without relying on MDK. Well I'll try ... I keep thinking I've been transported to a 1930s Nazi rally on a bizarre acid trip where they are trying to record the soundtrack to Conan the Barbarian. However, being neither a time-travelling Nazi nor ever having taken acid this is a bit of a stretch but if you listen you will understand what I'm trying to convey: especially about the Conan bit. Stirring and moving in a Carmina Burana way. It's great, but a voice in the back of your mind suggests that there is something deeply disturbing under the surface: why do I keep thinking of the human soup on Thulsa Doom's lair ... "Now they will know why they are afraid of the dark... etc " Well it would be a better analogy for teh music if the lethargic slaves jumped into a Pan's People routine (showing my age: no time travelling required). Do you need this, maybe not. Do you need Zeuhl abso ...f...lutely Zeuhl is essential to any prog collection. For me Live at the Taverne De L'Olympia is the keeper: this is merely added pleasure (in a marmite way). You have been warned.

A hardcore zeuhl album.

For those who wonders what zeuhl is all about, this album is the answer. This is an album full of hypnotic, repetetive marching band rhythms driven by piano taken out into symphonic prog and jazz land. The vocals are male, twisted mental asylum male vocals and operatic female vocals. This music has much more in common with a German opera (for example Faust) than rock music. This is not rock music at all. It also has a lot in common with jazz, one of the foundations of zeuhl. The music is full of small intricate details and grandious melodies. This music is well over the top in the same vein as ELP's best music is well over the top.

I am really enjoying this album and it is a great album in my view. There is a drive and a majestic feeling in this music that spurs me on to listen more and more to this album and Magma's music in general. There is no excellent music on this album, but it is still a great album.

4 stars

More Magma means more Innovation, diversity, originality, intensity, dynamic hyper-music, Kobaian language... This is Magma! No actually it is Christian Vander's solo album?

So I avoided this thinking it was just going to be a diversion from the awesome magma sound of the 70s, namely masterpiece MDK. However, this follow up is unbelievably similar and really sounds like Magma, delightfully not like a solo album. Bombastic rhythms, Kobaian, female vocals, Janick Top's bass, Stella Vander's shrieks and sopranoisms, Klaus Blasquiz's vocal intonations, and wild percussion, and of course Vander's manic screams and low groans and Gregorian chants pervade the sound, along with his sporadic drumming and crashing piano, and Fender Rhodes instrumentation.

From end to end the album squelches out the chunk and funk sounds of Magma, the recipe consisting of a concoction of moderate jazz, rinsed liberally in tribal chants and drained with opera chants. The Teutonic alien language based on some alien civilisation is as bizarre as anything on other Magma albums. There are flavours of RIO and Krautrock, with generous slices of avant garde and dollops of Wagnerian Opera. It is impossible to single out the tracks as they kind of run together mixed in a blender, but it really takes off on 'Ẁohldünt M/ëm Dëẁëlëss' that sounds so much like the material on MDK, that I thought I had put the wrong album on. The formula is so right for magma, and they occasionally plagiarise themselves without complaints from me. The signature sound is powerful and haunting and it seeps into your system after a while causing an addiction to their uncanny and creepy meanderings. At times one may pick up words but it is only an illusion as nothing is intelligible.

Side 2 is a real ear opener with bizarre screechings to begin and then the violins slice out a rather disconcerting signature. The chants begin and follow the violin slices with admirable precision. One must take an excursion into the murky Zeuhl territory and at least hear the MDK Magmasterpiece, though admittedly it is definitely not for the faint hearted. Depending on your mood at the time may depend on your overall impression, but you can let the music take you into which ever direction it decides as personal interpretation is essential in the Magmaverse. The vocals are an absolute delight and you will hear Gregorian chanting, choral yelling, high octave shrills and deep resonances. As usual vocalists Stella Vander and her estranged husband are the centrifugal force of this album. The intensity of polyrhythmic time signatures are intense, and at times the music takes surprising detours, such as 'Sëhnntëht Dros Ẁurdah Süms' with all that fast paced rhythmic jangling and tweaking.

The sound is stripped down on the album though without massive choirs, big brass sounds and multiple instrumentation, but it exudes a charm of its own as a result. There are sustained atonal chord progressions and tribal drumming metrical patterns throughout and an everpresent piano played like nothing I have ever heard since MDK. The repetition is entrancing, with all the staccato stabs that darken the sound and these are contrasted by very light passages of minimalist strings and serene choral vocals. There is a real tension and release, like gravity forced up and down along the soundwaves. Repetitious mantras are a key feature of the Magma sound, primitive tribalisations and Vander himself are a centrifugal force of the Magmaverse, but it is so well executed on this sparser lineup, that it is quite a stunning achievement. It is anti-music atonal jazz certainly, but Magma stand alone and proud as their own entity, and Vander has created a solo album of hypnotic and compelling soul stirring constituent Zeuhl.

The second movement of the Theusz Hamtaahk trilogy (being MDK the last part, but released before this one). It sound similar to MDK, but it's more focused on jazz than classical.

The first track is a very strange song: Malawëlëkaahm. It's like a horde of vikings and prehistoric men want to destroy something. But all the song changes, mixing the gentleness of the piano and this massive "attahk". At the end of the song there's a strange sound, it's similar to a soundscape. This thing makes the album more dark and heavy.

The difference between this record and the others is that there's so much protagonism in the piano than the other instruments, that's what makes it less aggressive than MDK. There's another thing to something to mention: at the time, Magma was a quartet: Vander, Stella, Klaus Bazquiz and Jannick Top, and it seems as there was 15 people more!

How can they do a 36 minutes-piece without commeting mistakes? if somebody is able to answer me, i will be there to hear him!

One thing more: if you want to get Magma, this is not a good point to start. This album is very experimental and "boring", if it's the first time you hear it. So, listen to Kobaia and keep on progressing Magma's discography to understand this music. One time you open your soul to it, you won't let it!

9/10

As many reviewers have stated before me, this is, for all intents and purposes, a MAGMA album, not really a Crhistian Vander solo album. But then, aren't all MAGMA albums Christian VANDER albums? Released after the ominous, deliberately-paced, more spacious Köhntarkösz and just one year after the ground-breaking, band-, and sub genre-defining Mëkanïk Dëstruktïw Kömmandöh, Wurdah Ïtah is a powerful, more fast-paced submission into the saga of the relationship between planets Earth and Kobaia. What makes Wurdah Ïtah such a great album is the wonderful clarity and definition each voice and instrument receives in the recording and engineering. The voices and every piece of percussion are so clean and clear and distinctive. And yet the mix transposes the music masterfully into one well-woven web of power and effect. I love this! What sets this piece apart from the 'big' and 'bombastic' feel and effect of MDK-like Magma albums is that there is less ecstatic frenzy, more control and respect or even reverence in the feel of the music, as well as the feel of a much smaller, more intimate ensemble. MDK feels like it's being performed in a large cathedral (as if it needs to have that kind of space) while Wurdah Ïtah feels like it's in a small studio. For some reason I like this. (Not that I like it 'better' but rather, I like its difference.) Wurdah Ïtah is much more piano-based than other Magma recordings I've heard. Like the scaled-down accompaniment one might find during a rehearsal for a Broadway musical. This undoubtedly has a great deal to do with why I find the performances of the vocalists, bass and drummer to be so much more vibrant and in-your-face. It is a nice effect--different from so many other Magma recordings. I have lots of favorite little moments, but the one that stands above all others is the opening to the final song, "De Zeuhl Üdazïr" (3:41) (10/10) in which Vander transports the listener back to MDK and in which every instrument, every sound is augmented and defined to be sure to register this fact deep within the subconscious. I also love the numerous excesses, embellishments and flourishes contributed by the vocalists throughout. They always seem so random, spontaneous, and expressive. Wonderful! To my ear and heart, this is yet another amazingly masterful contribution to the lexicon of progressive rock music. I feel no hesitation in dishing out another five star rating for yet another Magma recording. They're worth it!

ẀURDAH ÏTAH is a strange little album in the MAGMA discography. It was originally released as a Christian Vander solo album as the soundtrack for Yvan Lagrange's avant-garde take on "Tristan et Iseult." The album has always been considered a MAGMA album by fans and is now released only as ẀURDAH ÏTAH (Kobaian for "dead Earth"). It's also strange (as are most MAGMA albums) in that despite being released in 1974 after "Mëkanïk Dëstruktïẁ Kömmandöh (MDK)" it is the second movement in the Theusz Hamtaahk Trilogy, while MDK is the third and final one. The first is "Theusz Hamtaahk" itself which was only released live (now on Retrospektiw Parts I & II) but you know what? This is just the technical sorting out after the fact as far as i'm concerned. Listening to and enjoying any MAGMA album is not dependent on listening to another, in any particular sequence or otherwise.

This brilliant little beast as well as the following "Köhntarkösz" are important in the MAGMA world because they prove without a doubt that it doesn't take thirteen performers and an army of producers to create a MAGMA-nificent MAGMA-sterpiece. This album was reduced to a mere quartet (Stella Vander / vocals, Klaus Blasquiz / vocals, percussion, Jannick Top / bass, Christian Vander / drums, piano, Fender Rhodes, vocals) but delivers an epic and beautiful total reinvention of the mesmerizing zeuhl fully developed on MDK. While the basic idea is the same of repetitive zeuhl rhythms, everything else is tweaked and contorted to become a totally new species of this fledgling subgenre of progressive music. The operatic vocal styles incorporate myriad creative forms as do the instrumental parts. While MDK has a huge epic style, ẀURDAH ÏTAH has more of an intimate feel to it like you could go to some coffee house and hear this. I'm totally curious as to what kind of film the version of "Tristan et Iseult" is because it's hard to believe that any film could incorporate music this quirky and bizarre into it's story line!

Originally Christian Vander's soundtrack to a little known film Tristan Et Iseult, Ẁurdah Ïtah is remastered and rereleased as part of the Magma canon these days - as a result of it being the key quartet of Christian and Stella Vander, Klaus Blasquiz and Jannick Top. As a result of the stripped back quartet, there is no guitar, brass or choir, but they still manage to generate the signature totalitarian melancholy marching feel of MDK, albeit a little softer without the guitar and brass sections.

Ẁurdah Ïtah is the second part of the Theusz Hamtaahk (Time of Hatred) trilogy, released after MDK, the third movement. Set before MDK, where Nebehr Gudahtt provided the enlightenment that the Kobaians offered on their visit many years ago, Ẁurdah Ïtah in Kobaian apparently means 'Dead Earth'. As with everything Magma, the plot should be open to interpretation. I personally see it as the Kobaians lookin on from afar at what we humans are doing to the planet Earth and expressing their displeasure but also slight empathy. But there are a thousand other ways to interpret of course!

It's less repetitive than MDK in terms of its rhythms and chanting, and is probably the best example of Magma's more melodic lyrical style, and I would place it slightly ahead of MDK in my personal tastes, and definitely as another entry point for Zeuhl style.

Magma's next album has the most interesting backstory of any of their releases. Released in mid-1974, Ẁurdah Ïtah (Kobaïan for "Dead Earth") is the second movement of the Theusz Hamtaahk trilogy and a prequel to MDK. As mentioned above, the eponymous Theusz Hamtaahk is the first movement, but it has never been recorded in the studio. The available summaries of the stories within these first two movements are  vague. Theusz Hamtaahk tells the story of a terribly destructive war, and Ẁurdah Ïtah is about its aftermath.

Ẁurdah Ïtah, though, was not initially released under that name. That didn't happen until its reissue in 1989. In 1974, it was released as Tristan et Iseult, a Christian Vander solo album and soundtrack to a film of the same name.

In 1972, Magma recorded some demo tapes. Filmmaker Yvan Lagrange got a hold of them and used them (without permission) for his avant-garde film Tristan et Iseult, a non-traditional retelling of the chivalric story of the same name. The film is incredibly hard to get a hold of, and the only people who seem to know about it are Magma fans and diehard experimental cinephiles. Based on reviews on Letterboxd, the film is confusing and involves a lot of horses.

Somehow, Christian Vander found out about this small-budget, unsuccessful film and got Lagrange to agree to fund a proper soundtrack in exchange for not being sued.

The result is the most stripped-down release in Magma's discography. Featuring just drums, bass, piano, and vocals, Ẁurdah Ïtah stands in stark contrast to its lush predecessors. Fittingly for an album titled "Dead Earth," such spartanness might have been a smart stylistic choice. (Though I do get the sense that Lagrange couldn't exactly fund an enormous production.)

Due to its limited sound palette, conception as one unified composition, and emphasis on repetition and gradual change, Ẁurdah Ïtah is difficult to analyze on a track-by-track basis. It is best enjoyed as one massive suite.

"Malaẁëlëkaahm" opens the album on a rapid chant before dissolving into something moodier and more atmospheric. As with MDK before it, Ẁurdah Ïtah is quick to establish a ritualistic mood. Jazz elements are more obvious here, and the album feels more grounded overall, perhaps due to the sparse instrumentation.

"Bradïa Da Zïmehn Iëgah" is a brief, woozy, wobbly piece where ostinato piano and shuffling drums provide backing for Kobaïan vocals. "Manëh Fur Da Zëss" continues in this vein for another short song.

"Fur Dï hël Kobaïa" is a bit slow to get going, but it eventually turns into a driving piece where the many layers of overdubbed vocals work together wonderfully. The structure is constantly changing, but it somehow managed to feel like it all belongs together. "Blüm Tendiwa" is another gradual build from a quiet intro, but this piece is the most cosmic-sounding yet.

The first half of this record ends on "Ẁohldünt Mᴧëm Dëẁëlëss". It has a bouncy, ascending melody, and Stella Vander's vocals are the real star of this song.

"Ẁaïnsaht !!!" opens with some weird, processed vocals and one repeated piano note, but it soon returns to the sound that has dominated the album up to this point. "Ẁlasïk Steuhn Kobaïa" is an exciting track where emphasis is placed on the piano and bass, as opposed to vocals and drums.

"Sëhnntëht Dros Ẁurdah Süms" keeps the energy up and plays around with dynamics. Electric piano is also deployed here, and even that slight change in sound adds a lot. The opening chant from "Malaẁëlëkaahm" is revisited in a sunnier rendition (itself evocative of the opening of Theusz Hamtaahk), and more themes are revisited in "C'est la vie qui les a menés là !". The second half of this song again shifts the focus to the piano, and the result is strongly reminiscent of Van der Graaf Generator's best work.

Ẁurdah Ïtah closes on "De Zeuhl Ündazïr", a song which foreshadows musical themes from Mekanïk Destruktïẁ Kommandöh, emphasizing the connection between these two albums.

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