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MAGMA

Zeuhl • France


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Magma biography
Founded in Paris, France in 1969 - Disbanded in 1983 - Reformed in 1996

MAGMA is a progressive group led by drummer/composer/vocalist Christian VANDER that has been active in the 'classic period' and in the 21th century. The music of MAGMA is often categorized as 'Zeuhl' (which means 'celestical' of 'heavenly' in Kobaïan, MAGMA's own language). The band doesn't clearly fit in any other progressive subgenre, though avant-prog would qualify.

Swirling riffs in odd time signatures, theatrical choir arrangements, heavy and distorted pulsing bass guitar, bombastic and minimalistic (sometimes both at the same time), dark and brooming, adventurous and angelic, jazzy or classical, but always with the highly innovative and original drums of founder and main composer Christian VANDER. The music of MAGMA is adopted by the progressive rock movement, though even for progressive standards it is very hard to get into because of its 'other worldly sound' and its extended compositions of often more then thirty minutes. The band has had almost no connection whatsoever with other bands of the progressive genre, though in France it would prove to be a big inspiration for other Fusion and Zeuhl bands. It is often though that the modern classical music of Carl ORFF (for instance Carmina Burana) must have been a big influence to MAGMA. VANDER himself has claimed on several occasions that his main influence was the jazz saxophone player John COLTRANE, and listening to COLTRANE's version of 'My favorite things' we do find a hint to what was to become the Zeuhl genre. Legend goes that MAGMA was formed after a vision that was revealed in a dream of Christian VANDER about a spiritual and ecological future for mankind. This vision would influence the three different multi-part saga's, namely the Kobaïan saga (debut and 1001 Centigrates), the Köhntarkösz triology (Kohntarkosz Anteria or K.A., Köhntarkösz and Ëmëhntëhtt-Ré) and the Theusz Hamtaahk triology (Theusz Hamtaahk, Mekanïk Destruktïw Kommandöh or M.D.K and Wurdah Ïtah). The third studio-album of MAGMA, M.D.K., is often seen as the genre defining Zeuhl album, whereas the first two MAGMA albums have stronger jazzrock/fusion leanings and less Orffian choir arrangements.

⭐ Collaborators Top Prog Album of 2009 ⭐

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MAGMA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MAGMA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 522 ratings
Magma [Aka: Kobaïa]
1970
4.12 | 472 ratings
1001° Centigrades [Aka: 2]
1971
4.28 | 1103 ratings
Mekanïk Destruktïw Kommandöh
1973
4.17 | 365 ratings
Christian Vander: Tristan et Iseult [Aka: Ẁurdah Ïtah] (OST)
1974
4.15 | 528 ratings
Köhntarkösz
1974
3.78 | 449 ratings
Üdü Ẁüdü
1976
3.71 | 397 ratings
Attahk
1978
2.78 | 246 ratings
Merci
1984
3.69 | 141 ratings
Mekanïk Kommandöh
1989
4.26 | 742 ratings
K.A (Köhntarkösz Anteria)
2004
4.23 | 549 ratings
Ëmëhntëhtt-Ré
2009
4.09 | 412 ratings
Félicité Thösz
2012
3.74 | 158 ratings
Zëss - Le Jour Du Néant
2019
3.62 | 13 ratings
Kãrtëhl
2022

MAGMA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.45 | 259 ratings
Live/Hhaï (Köhntark)
1975
3.16 | 62 ratings
Inédits
1977
4.01 | 95 ratings
Retrospektïẁ III
1981
4.54 | 133 ratings
Retrospektïẁ I-II
1981
3.98 | 34 ratings
Concert 1992, Douarnenez:
1992
3.45 | 49 ratings
Concert Bobino 1981
1995
2.78 | 32 ratings
Concert 1971, Bruxelles - Théâtre 140
1996
4.41 | 36 ratings
Concert 1975, Toulouse - Théâtre Du Taur
1996
4.11 | 53 ratings
Concert 1976, Opéra De Reims
1996
4.27 | 65 ratings
BBC 1974 - Londres
1999
4.58 | 104 ratings
Theusz Hamtaahk - Trilogie
2001
3.97 | 40 ratings
Bourges 1979
2008
3.38 | 28 ratings
Live In Tokyo
2009
3.75 | 41 ratings
Zühn Wöhl Ünsaï - Live 1974
2014
3.50 | 6 ratings
Marquee Londres 17 Mars 1974
2018
3.76 | 9 ratings
Eskähl 2020 (Bordeaux-Toulouse-Perpignan)
2021

MAGMA Videos (DVD, Blu-ray, VHS etc)

4.15 | 33 ratings
Concert Bobino 1981
1995
4.31 | 55 ratings
Theusz Hamtaahk - Trilogie au Trianon
2001
4.46 | 69 ratings
Mythes Et Légendes, Volume I
2006
4.46 | 69 ratings
Mythes Et Légendes, Volume II
2006
4.83 | 84 ratings
Mythes Et Légendes, Volume III
2007
4.81 | 74 ratings
Mythes Et Légendes, Volume IV
2008
4.50 | 47 ratings
Mythes Et Légendes, Epok V
2013
4.86 | 7 ratings
Ëmëhntëhtt-Ré Trilogie
2017

MAGMA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.82 | 24 ratings
Mythes Et Légendes
1985
2.63 | 18 ratings
Kompila
1997
3.53 | 25 ratings
Simples
1998
1.86 | 20 ratings
Spiritual
2002
2.39 | 19 ratings
Über Kommandoh
2004
3.29 | 23 ratings
Archiw I & II
2008
4.83 | 6 ratings
Mythes Et Legendes (Box Set)
2008
4.90 | 69 ratings
Studio Zünd
2009
2.57 | 16 ratings
Trilogy
2012
4.50 | 4 ratings
45 Ans De Creation Hors des Sentiers Battus
2014
4.79 | 29 ratings
Köhnzert Zünd
2015

MAGMA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.44 | 9 ratings
Kobaia/Mûh
1970
4.50 | 8 ratings
Hamtaak / Tendeï Kobah
1971
4.54 | 13 ratings
Mekanïk Kommando / Klaus Kömbälad
1972
4.77 | 13 ratings
Mekanïk Machine/Köhntarkosz
1974
4.25 | 4 ratings
Lïhns / Hhaï
1975
3.50 | 4 ratings
Spiritual
1978
3.40 | 5 ratings
Retrovision
1981
2.82 | 11 ratings
Ooh Ooh Baby / Otis
1985
3.85 | 54 ratings
Floë Ëssi / Ëktah
1998
3.00 | 4 ratings
K.A - Extraits - Edition Radio
2004
3.78 | 56 ratings
Rïah Sahïltaahk
2014
4.28 | 80 ratings
Slaǧ Tanƶ
2015
4.25 | 4 ratings
Retrospektiw
2017

MAGMA Reviews


Showing last 10 reviews only
 Eskähl 2020 (Bordeaux-Toulouse-Perpignan) by MAGMA album cover Live, 2021
3.76 | 9 ratings

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Eskähl 2020 (Bordeaux-Toulouse-Perpignan)
Magma Zeuhl

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars One would be hard-pressed to find another band pursuing a musical path as lonely as Magma, but for more than 50 years that is exactly what they have been doing. Formed by Christian Vander in 1969, there have been comings and goings over the years, but he is still very much at the helm. From the beginning Vander created a language he called Kobaïan and most of their material is sung in that, while the music they have developed has its own styling, Zeuhl, which according to Vander means celestial. A few other bands have followed in their footprints and have also played Zeuhl, while Vander says this is what "you'd expect an alien rock opera to sound like: massed, chanted choral motifs, martial, repetitive percussion, sudden bursts of explosive improv and just as unexpected lapses into eerie, minimalist trance- rock."

There is no doubt that the band are an acquired taste, as it is quite strange, and with a large series of both studio and live albums over the last 50+ years (they did disband for 12 years at one point), it can be hard to know where to start. Personally, I must say that this is a musical area I have not explored, and this is the first Magma album I have actually played, but having done so a few times now, I can certainly see why they are a band who are either loved or hated. There is no middle ground here, as either you will understand the complexity and experimentation which is bringing together so many different styles, or you will hate it as there is nothing here in terms of normal time signatures or song structures.

This double CD set does include one song which is only five minutes long, but they average above 10, while the closing number of disc one is "Mëkanïk Dëstruktïẁ Kömmandöh (Fragment)" which is above 20. That is of course from the 1973 album of the same name, the one which has gained the most critical acclaim throughout their career (even though their original recording was rejected by their label at the time). This is not something to be played in the background, as this demands close attention. As an introduction to their work this is a great place to start, so don't be frightened of their back catalogue but instead dive straight into the live set taken from concerts they managed to undertake in 2020 before touring was stopped.

 Mekanïk Kommandöh by MAGMA album cover Studio Album, 1989
3.69 | 141 ratings

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Mekanïk Kommandöh
Magma Zeuhl

Review by bartymj

4 stars Magma lay dormant for a few years after their hit and miss albums of the early 80s before popping back up with a version of the classic that put them on the map.

This isn't the "proper" Mekanïk Destruktiw Kommandöh, nor is it the same as the live versions, nor is it the bonus track found on some MDK re-releases. It is however the original recording, with a smaller ensemble, that was rejected by the record company at the time in favour of the grander version split into smaller tracks, finally released 16 years later. Magma being confusing as always.

It's therefore stripped back a bit, with the drumming even more to the fore, and missing some key personnel, notably Teddy Lasry's brass instruments, Jannick Top on bass and Claude Olmos on guitar. It does feature though a chilling introductory speech from Christian Vander, in Kobaian.

Actually can't decide whether or not I prefer this version to the more bombastic MDK. It would probably be blasphemous.

 Merci by MAGMA album cover Studio Album, 1984
2.78 | 246 ratings

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Merci
Magma Zeuhl

Review by desistindo

5 stars People generally tend to like Magma, firts, for their darkness and complexity. But, we, Magma fanboys, tend to appreciate the transcendence (if I can call it) even in their popiest moments. I know its a contradiction. But they made it! A hipnotic and uplifiting album, that starts with a song called "Call from the Dark (Ooh Ooh Baby)" - so I dont have to say nothing more. Just listening the album with that perspective and you wont listen it as proghead, but as a person with the feeling of transcendence. Magma can let you fly above! So lets dance, ALSO, with Magma!

Its not necessary mention that the suite Otis is a masterpiece of vocal jazz and a superb homage to the great Otis Reding. If this album, as in the general rating its not a Prog essential album, please give it a chance as a great orquestral jazz album. Five stars. And I keep feeling inside me the bass compass tha starts Otis... bHUMMMM Otis!

 Eskähl 2020 (Bordeaux-Toulouse-Perpignan) by MAGMA album cover Live, 2021
3.76 | 9 ratings

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Eskähl 2020 (Bordeaux-Toulouse-Perpignan)
Magma Zeuhl

Review by Dapper~Blueberries

4 stars So Magma, one of Prog's most daring bands ever with their use of more classical sort of sounding rock music with that weird and powerful sound and performance that really gives them this whole new identity separate from what one might expect. They are definitely one of my favorite bands of all time next to stuff like Genesis, King Crimson, The Flower Kings, and or Haken.

Magma made some incredible albums, like their main staple Mekanik Destructiw Kommandoh, and other works like Udu Wudu, K.A, and Kobaia. They created a legacy for themselves in the Prog sphere with their genre being that of Zeuhl and inspiring many artists to take the Zeuhl torch like Koenjihyakkei, Weidorje, Universal Totem Orchestra, and or Zao, heck they even inspire non Zeuhl bands or musicians like Steven Wilson of Porcupine Tree, Johnny Rotten of Sex Pistols and Public Image LTD, and Mikael Åkerfeldt of Opeth. They definitely shouldn't be discredited for their importance in Prog as a whole. With that, when I saw their release of a live album that happened in 2020, I was very intrigued and excited to hear more of this very amazing and wonderful band.

This is a 2 CD album with the first CD being the Theusz Hamtaahk trilogie of suites, starting with the classic Theusz Hamtaahk, however in a fragmented and more excerpted form than the usual 30+ minute song. This time it's 16 minutes, making it a bit more digestible. With that it removes some parts of the suites, but keeps the important ones intact like Malawelekaahm, and Se Lah Maahri Donsai. I won't deny that I do miss the full version, and I guess that is the problem with this first CD. Due to these songs not being the full versions, it leads to me feeling like something is missing with these songs. It's not that big of a deal really, but if anything it can feel a bit weird listening to what should be nearly 40 minute suites tucked down to merely 16 and 20 minutes.

Wurdah Itah is similar to Theusz Hamtaahk being 16 minutes and being a smaller version of the suite, however it starts off with Waïsaht instead of Malawëlëkaahm, making it start half way through the suite. One thing I like about this suite is that Christian Vander, despite his old age, can clearly drum with amazing proficiency. His drumming aged like a fine wine and it seems to have gotten better over the years, so his drumming definitely really does shine with this album, and this song as a whole. Wurdah Itah isn't really my favorite, but it gets the job done for great Zeuhl music.

And with that, one of the best song on the album plays, which is the second half of Mekanik Destructiw Kommandoh starting with my favorite Magma song, Da Zeuhl Wortz Mekanik. This song takes a back seat on the crazy of the original and goes for a more contemporary feel, and I am all for it. While I love the original, it definitely was very crazy and could get kinda annoying admittedly, so with this more laxed and focused version of the song it really shines the whole entire focus of the song, and that beginning where the guitar lead goes into the song, it's just super cool and I love it. But after that, it goes into a more ambient sorta quiet version of Nëbëhr Gudahtt. Usually in live settings it's very bassy and haunting, however here it's a very tranquil and almost beautiful experience. Not my favorite and not what I come for, but certainly an interesting experience. But everything comes back around when Mekanik Kommandoh plays and wraps a nice bow on this entire 3 segment suite. It's kinda magical, and really adds a ton of flavor with how the band can come together and play their hearts out for one last song. Absolutely incredible.

Now do not touch that dial since there is a second CD that has various songs from other albums, the first of which is the fan favorite Kobaïa. I have a soft spot for this song, so hearing it again certainly is a great time. Still gives out that fun, more jazzy side of Magma and I love it, and they add some extra stuff in the song like a guitar solo and some weird bits and pieces to really modernize and revolutionize this already amazing song. I think this may be the best version of the song with how it adds and gives, bringing life to the 50+ minute suite. It's very awesome, definitely the best song on the album.

With that, we travel to somewhere into the 80s or with a more pop-like side to Magma's sound with For Tomorrow. This is a very interesting song in the fact that it feels and flows like a more traditional jazz or fusion song which I enjoy, with a more popular music flair. It's enjoyable, not my favorite but certainly enjoyable. Though what I don't like is the lack of weirdness and complexities most of the songs on this album have, which is what I come to Magma for, that weird yet complex and smart music. It leaves a bit of a weird taste in me, that's all.

Well, this is interesting. After For Tomorrow we got Auroville. I'll say, I like this style of music, it's nice and calming, I do not like Magma making this type of music. I am not saying they are selling out for their typical sound, it's just very jarring how we went from something crazy like Kobaia and Theusz Hamtaahk to Auroville and For Tomorrow. It's weirder than Magma's music really. That is certainly the main issue I have with the second CD. If the first CDs problem was that the suites were very shortened down and fragmented, then the problem with the second CD is the fact that half of the CD is composed of very weirdly less weird songs if that makes sense. I cannot say I hate it, it's certainly good, I just can't really like it due to the fact it doesn't feel weird.

However, not all is lost. We got Tröller Tanz. Now we are getting very weird with this song, coming back to a time where Magma was on the hold of a strange time for the band where they seem to not really knew what to do, but they still knew that they at least needed to be weird, and weird they got. This song has some odd bass playing, singing, keyboard playing, and everything and far between. It's certainly not their best work, and certainly not their oddest sounding work, it is very welcomed after those two, more lesser songs of Auroville and For Tomorrow, wrapping a nice bow around the second CD, making it an odd but worthwhile experience.

So all in all, I really like this album. Sure some parts are a little hit and miss but those things aren't really bad, just sorta ok. You get that with a Magma album most of the time so this isn't really much to worry about. So yeah, this is certainly a good album to hear if you are a Magma fan and love their music. I Highly recommend it.

 K.A (Köhntarkösz Anteria) by MAGMA album cover Studio Album, 2004
4.26 | 742 ratings

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K.A (Köhntarkösz Anteria)
Magma Zeuhl

Review by koresea

5 stars I had a bad first step with Magma, about a year ago I listened to the first album of theirs (M.K.M) and was not impressed, I don't know if the day I listen to it I was not in the mood or just need more time to appreciate other music forms that would lead me to like this band, anyway; I gave them a second chance and listen to this album. What I received was a true masterpiece.

The album is composed of essentially 3 songs which sound like one great long piece, right at the start of "KA I" you could already see the epic feel of the music, it's very grandiloquent with chorals and orchestral sonority, this feeling is only broke by some jazz fusion moments, I must note that the guitars are probably the most impressive instrument in these sections with solos that are equally beautiful and that fit well at the moment.

The drums are the most important element for this mix of jazz and orchestral work, always switching from one style to another without losing any of the pace and still making it technically impressive. Christian Vander certainly is of the greatest prog-rock drummers.

It's important to note that although the lyrics are sung in a made-up language is very clear that the sounds are all very planned to fit the songs. It's like the chorals and the instruments are all layers in the music that are constantly being used together to give a spectacular form to the songs. An example of this can be seen in the first song where the female and male vocals sing separated sections that individually are incredible by themselves, but the greatest moment comes when the two chants overlap each other, creating a third and unique sound.

This is a simply perfect album, every single note sounds like was mean to be in that way being very clear the perfectionism put in the composition, something that gave great fruits with an album that can be considered an essential progressive rock masterpiece, something that must be listened by everyone who likes the genre. And even if you listen to this and didn't like it at the first moment, it's okay, everyone has its taste, but I certainly recommend giving it another try, because you can be truly astonished by its quality, as I was.

 Archiw I & II by MAGMA album cover Boxset/Compilation, 2008
3.29 | 23 ratings

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Archiw I & II
Magma Zeuhl

Review by andrea
Prog Reviewer

2 stars This double album was originally released as part of the box set collection Studio Zund and later released by Seventh Records on its digital store as an autonomous work. As you can guess from the title, it's a mixed bag of material taken from the band's archives and the quality of the sources is not always impeccable (to say the least). According to the liner notes, the first seven tracks had been originally composed for the soundtrack of the film "24 heures seulement" (a film about the 24 Hours of Le Mans, the world's oldest active endurance racing event). The pieces were recorded in July 1970 at the Europa Sonor Studio and soon forgotten... An alternative version of "Mekanik Destruktiw Kommandoh" closes the first CD. It was recorded in April 1973 at the Manor Studios (England) and previously released as bonus track on the 1988 CD re-release of the "Mekanik Destruktiw Kommandoh" album. In this case the sound quality is good... Unfortunately I can't say the same for the first eight tracks of the second CD, demo versions of Magma's debut album, "Kobaia", recorded by the band in April 1970 and that can be considered just an interesting document of the band's creativity. An alternative version of "Eliphas Levi", taken from the recording sessions of the 1983 album "Merci", closes this album that I can recommend only to collectors and die-hard fans...
 Mekanïk Destruktïw Kommandöh by MAGMA album cover Studio Album, 1973
4.28 | 1103 ratings

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Mekanïk Destruktïw Kommandöh
Magma Zeuhl

Review by lovejazzprogelectron

5 stars The first time I listen to this album i did not understood anything, but then, with a lot of jazz, jazz rock and Canterbury scene on my own universe I tried but first with an album that is more accesible but still a classic piece of this rare form of Rock music: ÜDÜ ẀÜDÜ. Once I understand this album I went to listen to the album in reference. MEKANÏK DESTRUKTÏW KOMMANDÖH is a totally 5/5 album, essential without a doubt. This album have polyrhythmyths, complex elements of Jazz, epicness, avant-garde and a new musical approach of rock with some gospel, contemporary classical music, RIO; all mixed in a consistent and eclectic form. First, MEKANÏK DESTRUKTÏW KOMMANDÖH was designed to be a one album song, but the idea was rejected and the song was divided on 7 parts with titles each one with titles that refer to the respective part of the song, each one of them have an awesome use of the repetition, avant-garde elements and the particular freak and shock vocals, there some with an excellent use of the guitar in a jazz (but not your typical jazz), Christian Vander on the percussion and drums with a perfect execution, the bassist demonstrating that this genre has bass lines out of this world and possibly the part where a lot of people dislike Zeuhl: the vocals, for me, are awesome, but it's not so easy to understand it. This album it's indisputably an essential piece for the progressive music in the full sense of the word. It's despicable for me seeing some "PROG EXPERTS" rating this album with 1 or 2 stars and rating it with 0 stars if possible, because they cannot understand how magnificent this is, they only expect for prog rock the same 7-25 min songs with sudden changes (not all consistent) from acoustic to electric or viceversa and a moog abuse; uh and probably think that prog music died in the 70s, they ignore the most important part of the genre: TO BE PROGRESSIVE.
 Attahk by MAGMA album cover Studio Album, 1978
3.71 | 397 ratings

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Attahk
Magma Zeuhl

Review by Saimon

3 stars Review #23: Attahk

I'm going to try from this point on in my time as a ProgArchives user to try to write my reviews better without a lot of chatter and get straight to the point, complementary and well, just to be clear.

There are some brilliant tracks that never fail to innovate and inspire the listener, like Last Seven Minutes, which has Zeuhl's signature heavy bass, operatic vocals, Vander's screams, a great funk feel, a high energy song. It starts with aggressive jazz concentrated on piano and drums. At first, one thinks "this is battle music", but in reality this is only true for the first song. Then it gets weirder, as it becomes possibly the most accessible and diverse album Vander has ever had.

Before listening to Attahk, you have to be clear that you will be expecting a LITE version of what Magma is, because if you go out of your way to play something like his other albums, you will end up being disappointed like I was.

On Attahk, Magma is closer to "typical" fusion than on any previous (or later) album. Gone are the long side/album length epics, to be replaced by shorter, more accessible tracks. What hasn't disappeared is the incredible drumming, the out-of-this-world bass and Kobaïan's lyrics. On this album, Magma has a strong funk/R&B/soul influence that separates it from previous albums. As a new listener of this band, I must say that it was not my best choice to start with "Mekanïk Destruktïw Kommandöh", because after that wonder, I don't think any other album could excite me as much, but anyway. I feel, to my personal taste, that this album loses the powerful touch that made Magma so popular during the mid 70's. Beyond how ambiguous and strange the album sounds, I think it's of great quality. But how to say it... I just don't like it. It seems to me something very inferior in terms of his other works.

6.6/10, 3 stars. Even if they tell me it's a great album, I'm not really going to care much about how they want to discuss it, because to be honest I ended up finding it kind of boring. It's not something I'd listen to at home, or to experience new albums. But I guess part of the disappointment was that I had very high expectations, expecting this to be like their previous works.

 Merci by MAGMA album cover Studio Album, 1984
2.78 | 246 ratings

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Merci
Magma Zeuhl

Review by bartymj

2 stars Proof that the infectious nature of the 1980s music style reached as far as other planets. Here Magma are no longer Magma. Introducing: Kobaia, Wind and Fire.

The funk/R&B vibe hinted at on Attahk has fully taken over, as has the use of English lyrics. See track 1, Call From the Dark for the best (worst) example of this.

Do the Music at least makes use of the scatty vocal style synonymous with Zeuhl, but still in an 80s funk track. This one is passable though.

Otis - if the title of the track didn't give it away, the style will. A Vander tribute to Otis Redding, and do you know what? It's done strangely and surprisingly well, even with some shrieky Zeuhl scatting thrown in and after 4 minutes or so a ramp up in pace - toe tapping fun.

I Must Return could be a Boney M track. Which in my eyes means its horrible. And the final two tracks are supposed to be spiritual but do absolutely nothing for me.

Do the Music and Otis are actually not bad but the rest is a horror show, and I'd rather it never happened.

 Eskähl 2020 (Bordeaux-Toulouse-Perpignan) by MAGMA album cover Live, 2021
3.76 | 9 ratings

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Eskähl 2020 (Bordeaux-Toulouse-Perpignan)
Magma Zeuhl

Review by alainPP

3 stars MAGMA is the group born in 1969 led by drummer, composer, singer Christian VANDER who also created the 'Zeuhl' their mother tongue. Avant-prog, rock, jazz, classical, folk, a choir, lyrical singing all assembled by swirling riffs, Christian's always very innovative drums, a bombastic sound that only his faithful servants have access to, yes It's the price to pay. MAGMA does not hide its inspiration from Carl ORFF and John COLTRANE, otherwise MAGMA is apart. This is their 16th live recorded just before the pandemic with forays into flagship titles from the 70s. MAGMA only lives because it has molten musical substance flowing through their limbs.

CD1 takes up three musical fragments with "Theusz Hamtaahk" on the jazzy magmaian madness, a theatrical variation of their almost classical universe and breaks and accelerations of the tempo. "Ẁurdah Ïtah" more voices, a trance, a timeless classico-jazzy-orchestral piece where improvisation seems the rule but where everything is calculated; note the captivating very progressive keyboards. "Mëkanïk Dëstruktïẁ Kömmandöh" on a Teutonic rhythm, mesmerizing cascading voice, Kobaienne trademark; jazz, Al Di MEOLA in the background, nothing can describe their music so I will refer you to the last episode of "Prisoner", the famous 17 where everything goes into a disorganized maelstrom ... well that's what I feel during these standard extracts. CD2 covers "Kobaïa" from 1970, one of the flagship titles full of finesse, a good review of their universe with multiple breaks and trance breaks, art music to experience rather than to listen to. "For Tomorrow" detonates with a tribute title to John Coltrane thanks to a cover of McCoy TYNER and a confusing solo by the master. "Auroville" for a piano sweetness at the dawn of music which extends the jazzy-classical foray. "Tröller Tanz" ends this live like a fireworks display going in all directions, returning to the Kobaienne base.

MAGMA has therefore released a live pre-covid, molten lava, the sound you have to have heard once in your life to die happy, far from it all. Coltranian jazz, musical lava in abundance, a spirit apart and a vitality still intact, perhaps because of the rhythm of the master in these places. Christian himself says he is going back to war to save us from the world, he is there and still there.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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