1001° CENTIGRADES [AKA: 2]

Magma "2" following some of the patterns established by the band's first album in that the three long songs contained here are each credited to different composers: the opener (and by far longest) to Christian Vander, the second to Ted Lasry, and the third to François Cahen. In an unusual move, the band decided to record without a guitarist after the departure of Claude Engel. Also, tensions within the group were mounting with regard to which direction the music was to go. This resulted in the splintering off of members Yochk'o "Jeff" Seffer and François Cahen to form their own group (which would be called Shekina).

1. "Rïah Sahïltaahk" (21:45) constructed in a big band fashion with lots of staccato motion with lead vocalist Klaus Blasquiz doing most of the story telling throughout (and a complete absence of female vocalists!). The opening passage is segued to the mid-section by a two minute passage of theatric orchestral effects while the cinematic mid-section sounds and feels quite like a Burt Bacharach film soundtrack passage, though a little more dramatic due to the Blasquiz effect. Still, the "Do You Know the Way to San Jose" and "South American Getaway" motifs and feel are quite noticeable--though there is also quite a few moments that remind me of Leonard Bernstein sounds and motifs. Powerful but less engaging, less hypnotic, than many future compositions. (32/40)

2. "Iss Lanseï Doïa" (11:46) as is common with Ted Lasry compositions, there is much more of a familiar jazz foundation--here modern and very much in line with other contemporary film soundtracks--and the softer, more nocturnal side of humanity seems to be expressed more in Lasry pieces. There are still multiple voices being explored, but here it is done through a cacophonous horn section, each spouting its own voice and pace. Mid-song there is a break down in which only the horns play their plaintive discordant weave, but then bass and male choir enter to prep us for the cohesive horn and keyboard support of a section of deep-gutteral alien-sounding narration. The horns and piano are actually being used as two separate voices of this civilized intergalactic "conversation." Cool! (17/20)

3. "Ki Ïahl Ö Lïahk" (8:23) less jazzy, less staccato, but still founded in what were current principles of cinematic soundtrack music, this piece feels to me closer to the music that Eumir Deodato and Herbie Hancock were exploring at the same time. A nice, unobtrusive piece of lounge jazz. (12/15)

The music of "2" or "1.001* Centigrades" is definitely a step forward in the progression of the establishment of Zeuhl as its own musical form, but not quite there yet. Also, for the sake of Zuehl, I think it a good and necessary thing that Christian Vander step forward to take full control of the band's musical direction; only then do you get a more comprehensive feel for that which defines the musical sub-genre.

3.5 stars; a collection of nice cinematic jazz pieces that are more interesting for their place in the history and development of the musical form that would soon be called "Zeuhl."