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ZEUHL

A Progressive Rock Sub-genre


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Zeuhl definition

Zeuhl is an adjective in Koba´an, the language written by Christian Vander, drummer and founder of the French band Magma.

Pronunciation: zEU(h)l, while the EU are like a French E with a slight U, and the (h) is a semi-silent letter which is an integrated part of the EU, totaling in a "syllable and a half".

The word means celestial, although many times it is misunderstood as meaning "celestial music", since the members of Magma describe the genre of their music as Zeuhl. Zeuhl Wortz, though, means Music of the universal might.


The genre is a mixture of musical genres like Neoclassicism, Romanticism, Modernism and Fusion. Common elements: oppressive or discipline-conveying feel, marching themes, throbbing bass, an ethereal piano or Rhodes piano, and brass instruments.

Current team members (20/05/2016):
Raffaella (Raff)
Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)
Ori (frippism)

Zeuhl Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Zeuhl | More Top Prog lists and filters

4.31 | 833 ratings
MEKAN¤K DESTRUKT¤W KOMMANDÍH
Magma
4.27 | 581 ratings
K.A
Magma
4.25 | 419 ratings
EROS
DŘn
4.28 | 187 ratings
4 VISIONS
Eskaton
4.19 | 445 ratings
╦M╦HNT╦HTT-R╔
Magma
4.19 | 290 ratings
CHRISTIAN VANDER: TRISTAN ET ISEULT [AKA: ẀURDAH ¤TAH]
Magma
4.22 | 165 ratings
WEIDORJE
Weidorje
4.14 | 325 ratings
F╔LICIT╔ THÍSZ
Magma
4.13 | 356 ratings
1001░ CENTIGRADES [AKA: 2]
Magma
4.43 | 56 ratings
MAIS ON NE PEUT PAS R╩VER TOUT LE TEMPS
Thibault, Laurent
4.10 | 402 ratings
KÍHNTARKÍSZ
Magma
4.44 | 49 ratings
MATHEMATICAL MOTHER
Universal Totem Orchestra
4.16 | 118 ratings
INFERNAL MACHINA
Top, Jannick
4.05 | 388 ratings
MAGMA [AKA: KOBA¤A]
Magma
4.14 | 113 ratings
THE MAGUS
Universal Totem Orchestra
4.31 | 46 ratings
BONDAGE FRUIT II
Bondage Fruit
4.07 | 109 ratings
LES MORTS VONT VITE
Shub-Niggurath
4.09 | 82 ratings
RITUALE ALIENO
Universal Totem Orchestra
4.06 | 94 ratings
EIDER STELLAIRE I
Eider Stellaire
4.08 | 74 ratings
GU╔RISON
Setna

Zeuhl overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Zeuhl experts team

TRIMEGISTO
Runaway Totem
BONDAGE FRUIT I
Bondage Fruit
C'╔TAIENT DE TR╚S GRANDS VENTS
Shub-Niggurath
NEFFESH MUSIC :GHILGOUL
Seffer, Yochk'o

Latest Zeuhl Music Reviews


 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.44 | 49 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars

This band was originally formed as an offshoot of Runaway Totem, which probably goes some way to explaining why they released their debut in 1999, their follow-up in 2008, and this their third in 2016. They are often described as Zeuhl within the prog world, but I'm not convinced myself that the term has a great deal of merit outside of Magma, so let's instead keep this simple. However one wants to classify this album, or whatever sub-genre one wants to put it in, it can all be said in one little word, "beautiful".

Whether it is the soaring classical vocals, the perfect piano accompaniment, the amazing bass, or the move between jazz, fusion, funk, classical, Arabian and progressive styles, it really is the only word that matters. This is a delicate album with instrumental passages that are dynamic and powerful, with vocals that can be strident or fragile, with everything always working together in perfect harmony. Some of the guitar on opener "Terra Cava" is sublime, and it shows that even proggers can shred when they wish to, it's just that they often don't want to. At fourteen minutes long, this is an epic song in so many ways, not just in length, but in the sheer complexity and the way that all the passages make sense individually and come together to create a whole that is breathtaking both in its complexity and melody.

'Mathematical Mother' is a very special album, one that is incredibly complex and intricate, yet also very easy to listen to, and totally enjoyable the very first time it is played. Let's hope we don't have to wait quite so long for the next one.

 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.44 | 49 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by Matti
Prog Reviewer

5 stars When the band is categorized as Zeuhl, it seems to trigger a lot of debate and criticism. "Quixotic" is a word used in the band bio here. U. T. O. from Italy started out as an offshoot of a Zeuhl band Runaway Totem. Personally I knew nothing about this group or its origins in advance, when I was asked to review their latest (third) album. I recognize notable similarities with MAGMA - which has been a hard bone for me but which I have learned to appreaciate thanks to my prog friends. But I daresay this music sounds more eclectic and flexible in all its extreme complexity, and perhaps more impressive, than Magma averagely. The excellently produced sound features both eletcricity and acoustic approach (piano, saxophone, percussions), being occasionally slightly jazzy. The bass playing of Yanik Lorenzo Andreatta is marvelous.

The main vocalist Ana Torres Fraile is amazingly talented. She uses her strong and clear voice masterfully, from the operatic and Gothic soprano wailing to more intimate singing. The lyrics are in Italian; I have no idea about the textual contents. Occasionally there are also choir-like male backing vocals, but this music is not vocal-oriented, at least not in the common sense of the word. As with Magma's use of Koba´an language, the voice is pretty much like another instrument, and there are plenty of more or less pure instrumental sections too. The epic opener 'Terra Cava' (14:06) is a good example of that. It is truly gorgeous, actually so beautiful and perfectionistic piece of complex-and-yet-naturally-flowing prog that the expectations for the whole album are dangerously high. 'Codice Y16' attempts to pack a lot of things within 5 min 21 sec, sounding quite restless.

'Elogio del Dubbio' shifts from Gentle Giant-ish funkiness to ethereal Dead Can Dance -resemblance with Oriental flavour (tabla). Well, if there is a problem with this album, for me personally I mean, it's the occasional thought of overblown eclectic complexity. but then I'm disarmed once again by the serene and acoustic beauty in the beginning of 'Architettura dell'Acqua', the second longest track (11:27) that rivals the magnificent opener. 'Citta Infinite' has jazziness, operatic/Gothic flavour and instrumental excellence, for example in the form of a vibe solo by one of the guest musicians. Perhaps the closing track is a bit too restless (especially for the rhythmic complexity), as is the album in general, for my personal taste, but I certainly recognize highly original prog excellence when I hear it. In a word, this album is amazing. If you like complexity, operatic female vocals, superb use of instruments and bands as varied as GENTLE GIANT, MAGMA and DEAD CAN DANCE, you'll love this one.

 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.44 | 49 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by Warthur
Prog Reviewer

5 stars Is there such a thing as electronic zeuhl? Apparently, the answer is "yes", and Universal Totem Orchestra's Mathematical Mother delivers a great steaming slab of it. Keyboardist Fabrzio Mattuzzi is the star player on this one, unleashing gibbering synthesisers on an unsuspecting listener. A substantial improvement over the previous The Magus, which I found a bit uninspiring, Mathematical Mother is Universal Totem Orchestra's most successful union of zeuhl, symphonic, and other prog styles yet, creating a thoroughly original sound which any fan of avant-prog will find a joy to digest. Ana Torres Fraile is backed by a range of supporting vocalists to provide crucial additional texture.
 Mythes Et LÚgendes, Volume III by MAGMA album cover DVD/Video, 2007
4.83 | 63 ratings

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Mythes Et LÚgendes, Volume III
Magma Zeuhl

Review by UselessPassion

5 stars If I were to recommend one of the Epok series to a Magma newcomer, it would definitely be this one.

This setlist showcases Magma's range quite well, from the dark, oppressive atmosphere of Kohntarkosz to the uplifting neo-gospel stylings of Linhs and 'm'hnt'ht-R', as well as the more accessible jazz fusion stylings of Nono and The Last Seven Minutes. This setlist feels rich and fulfilling and hits all of the major emotional beats one expects from this incredible group of musicians, from the crushing weight of hell, to moments of poignant reflection and finally to the heights of ecstasy.

This particular DVD, Epok III, sees a considerable step up in sound quality compared to the last two releases. Christian Vander's drums are more appropriately mixed, still full of nuance and texture but not as overbearing and overtly harsh as they were at times on Epok I and II.

While Magma are excellent on album, they're truly a world apart when performing live and thanks to these DVDs, we finally have a small fraction of this integral part of their legacy available on relatively high quality video and audio. The performances here are precise and charged, and although the sound and video quality still isn't quite as fantastic as it could be, it captures far more than any other live Magma offering to date has managed.

If you're new to the group or already a fan of the studio albums (but have never heard Magma live and in high quality,) this DVD and the next in the series, Epok IV, constitutes the holy grail of zeuhl. The apocalypse of humanity has never sounded quite so beautiful.

 New Pleasure by NEW PLEASURE album cover Singles/EPs/Fan Club/Promo, 2017
3.05 | 2 ratings

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New Pleasure
New Pleasure Zeuhl

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

3 stars As though we stood upon another seashore in front of a newer musical mixture. A Canadian rock project NEW PLEASURE were founded in Edmonton as a key-synth-percussion-based chamber duo influenced by Zeuhl / RIO / Avantgarde progressive scene. This eponymous debut creation was released in April 2017 veiled in a fuzzy, vague picture-printed sleeve (really wondering if they are a duo or not). And as the sleeve pic says, their interpretation for avantgarde sounds minimalistic, sometimes pessimistic, and obscure, dry- fruity like Krautrock.

Yes their avantgarde melodic / rhythmic strides tinged with post-rock convolution and Krautrock dizziness reminds me of an electronic / Kraut oddball Kuppulung. On the other hand, for example via "In Tongues" it's amazing we can hear some Zeuhlish mysterious addictive melody distortion. So wonderful deep, heavy, complex sound theater can be screwed into our ears as if they are not duo nor chamber but temporarily orchestrated like in "The Clock". Generally a chamber duo cannot do a lot but their "limited" work full of minimalistic ambience with various rock essence is fine. Looking forward to their next stage ... what and how they will create in future.

 Kawana by ZAO album cover Studio Album, 1976
4.08 | 41 ratings

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Kawana
Zao Zeuhl

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars With a line-up of musicians such as this you really shouldn't go wrong:

- Franšois Cahen / Yamaha acoustic piano, Fender electric piano, Korg synthesizer - Didier Lockwood / acoustic & electric violin, artianal bass violin - GÚrard PrÚvost / Fender bass, hors phase bass, acoustic bass - Yochk'o Seffer / Soprano & Sopranino saxes, vocals, piano on F.F.F. - Jean-My Truong / orange double drums

1. "Natura" (7:03) sounds so much like a modern Pat Metheny Group epic--but it pre-dates all that! Piano, chunky and jazzy bass, and nasal soprano (sopranino?) sax all sound good together. Jean-My is a little quiet. (9/10)

2. "Tserouf" (8:59) a very tight funky jazz fusion song that could have come off of any of the American masters of the era--Miles, Chick, Stanley, Zawinal, even JLPonty, Area or Bob James! Great song. Very melodic. (9.5/10)

3. "F.F.F. (Fleurs for Faton)" (2:34) very nice little musical Útude performed by piano, acoustic violin and bowed double bass--like a gift from DÚbussy or FaurÚ. (9.5/10)

4. "Kabal" (4:14) very tightly performed, fast-paced opening before stepping down to a slower tempo at 0:50 for some synth work--but then things ramp up again with EVERYBODY getting into the act MAHAVISHNU style. The bass and drum work remain super tight and focused at the bottom throughout this display of virtuosity. (8.5/10)

5. "Sadie" (3:43) opens rather loosely, as if walking by a Jean-Luc Ponty-like street musician. The sopranino sax, bass, and electric violin melodies and harmonic support throughout this oft-shifting tempoed song are gorgeous. At 2:40 we are even treated to an overdubbed solo track for the violin. Nice. Creative, inventive song. (10/10)

6. "Free Folk" (10:44) there's a very relaxed vibe throughout this song--like a WEATHER REPORT song. As a matter of fact, there's very little here--or on this album--that harkens to Zeuhl music. Feels and sounds like the Zao crew has shaken loose from the Vander clutches and moved fully into the jazz fusion fold. Nicely done. Probably the weakest song on the album--almost anti-climactic fill--but still good. (8.5/10)

The question is: why is Jean-My Truong so sedate and/or mixed so low in the soundscape?

 Shekina by ZAO album cover Studio Album, 1975
3.88 | 45 ratings

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Shekina
Zao Zeuhl

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Opening with one of my all-time favorite 'happy songs', "Joy!" (3:54) (10/10) a song that just grooves and gets into your bones so that you can't help but get up and dance, be happy, the rest of the album is interesting for the range of emotions it takes the listener through.

2. "Yen-Lang" (8:10) retains more of the band's Zeuhl foundations with its quiet start and slow build using a pulsing, bass-infused almost single chord (single key) melody line. Flute and strings are awesome on this one. (9/10)

3. "Zohar" (10:53) opens at breakneck speed with all band members laying it all on the line--though none more than drummer, Jean-My Truong. By the third minute the music transitions radically to an all-strings format. At 5:00 bass, drums, keys and percussion sneak back in while strings disappear. Cahen's experimentation with keyboard sound takes over for a bit. Though the band is tight in their occasional ensembleness, the song lacks cohesion and overall feels a bit more like a experiment in experimentalism. (8/10)

4. "Metatron" (8:17) opens with Zeuhlish voices and sax and bass before taking off on a run through a series of challenging sections of disciplined precision-timed chord sequences. At two minutes, driving bass and drum race us along while keys, horns and voices move at a deliberately contrasting snail's pace. Things finally shift around the frenetically paced drums as bass and keys open the way for some sax and keyboard solos. Very reminiscent of both Weather Report and even Brand X. Impressive song. Impressive drummer! (9/10)

5. "Zita" (4:38) opens quietly with strings and electric piano weaving into a little soundtrack chamber music exercise with a kind of sound similar to Eberhard Weber or Vangelis. The presence of the lone soprano voice slightly in the background is a cool effect. Beautiful and peaceful. (9.5/10)

6. "Bakus" (5:13) is just weirdness--though keys, bass and drums really put their Zeuhl chops on full display here. Really it's just Seffert's vocals--sounding more like the fore-runner of those from 21st Century Japanese bands Koenji Hyakkei or OOIOO. Solid song. (8/10)

Though Seffers, Cahen, PrÚvost and the rest of the band continue to move farther away from their Magma roots, and more into that of the Jazz-Rock/Fusion sub-genre, this is still an album I'd classify as 'Zeuhl'--unlike their next one, Kawana, which is pure jazz fusion (despite the addition of violinist Didier Lockwood). There's something I like so much about this album. Kind of like the way I feel about AREA's Arbeit Macht Frei versus the more polished and virtuosic follow up, Crac!

4.5 stars.

 2 (ni), AKA Viva Koenji! by KOENJIHYAKKEI album cover Studio Album, 1997
4.03 | 81 ratings

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2 (ni), AKA Viva Koenji!
Koenjihyakkei Zeuhl

Review by Tapfret
Collaborator Eclectic Prog Team

4 stars The Zeuhl bloom of 1990's Japan appeared explosive from my vantage point across the sea. One of the most important figures, one might even use an overblown term like "The Godfather of Japanese Zeuhl", was percussionist Tatsuya Yoshida. As the creator of Ruins, what was likely the best known Zeuhl act in the country and progenitor of the movement, Tatsuya set out on a more diverse undertaking than the 2-man act he was previously known for. The result was Koenjihyakkei. Here we find their second album which I will refer to as Viva Koenji!! since that is the part of the cover I can read, likely the most accessible Koenjihyakkei album to this point.

At risk of overusing the term, this album opens in explosive fashion. Right out of the gate Viva Koenji!! shows that the comparative diversity to Ruins does not come at the cost of energy. The similarities between the two bands are obvious and numerous. Vocally the album is preached with the administration of syllabic rhythms of an unknown, seemingly alien language; a perhaps a sort of omni-lingual Esperanto, very similar if not exactly the language used in Ruins. I have honestly not researched the actual spoken words deeply enough to know. In any case, this linguistic set comes from a larger chorus that consists of two female voices that on this album is keyboardist Aki Kubota overdubbed in recording, and three male backing vocals. It is clear that the female vocal is the intended lead, with the male vocals either harmonizing or providing background orcish grunts and chants. Later manifestations and live performances would have multiple female vox on board. Stylistically the is an obvious leaning to the operatic tonality that is the Zeuhl formula on either continent where it is semi-popularized. The vocals alternate between dominant manic sequences and the drawn out clear legatos. The compositional themes are rhythmically dynamic, but do not employ any poly-metrics. Guitars are distorted but not to metal levels. Keyboards employ the use of organ and piano sounds with the occasional moogy waveforms. The overall presentation is complex but accessible, dark but energetic, and dynamic but deliberate.

Later Koenjihyakkei would employ more Rock in Opposition style rhythmic abnormality and instrumental dissonance. That likely makes Viva Koenji!! the most accessible of their albums to this point. Therefore it is highly recommended as an entry point to Koenjihyakkei's music, and in fact, the Japanese Zeuhl scene as a whole. I also recommend as a companion to this album the live DVD Live at Doors which features a number of songs from their first four albums including Viva Koenji!! as a good transition to their more challenging albums.

A very excellent album that would be a fine addition to any prog collection. 4 stars

 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.44 | 49 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by tszirmay
Special Collaborator Crossover Team

5 stars This is the third offering from Universal Totem Orchestra, a quixotic Italian band that gets criticized for not being pure zeuhl (nothing is really, besides Magma) and thus dividing Progland into outright fans and naysaying purists. Too bad really, as they never claimed to be devoted followers in the first place. Their debut "Rituale Alieno" as well the follow up "The Magus" are both, in my humble opinion, extraordinarily brilliant albums that deserve the loftiest progressive praise. There are some similarities with Magma and some huge differences. First the common elements, namely a furiously talented leader in drummer UTO G. Golin who simply pounds and sizzles throughout all their tracks, pushed along by the reptilian bass of Yanik Lorenzo Andreatta. Definitely near Vander/Top/Paga levels of quality. The arrangements hover from bombastic Wagnerian explosions to jazzier climes, again a Kobaian characteristic. The major difference is Ana Torres Fraile's booming voice that is beyond description, capable of a wide variety of tones, octaves and styles, but much closer to opera than anything else. Occasional forays into Arabic, Gothic and Gregorian leanings only accentuate her stunning brilliance. She is also extremely attractive. Furthermore, guitarist Daniele Valle and keyboardist Fabrizio Mattuzzi can hold their own with the very best the prog universe can suggest, technically hyper-proficient but loaded with gusto, bravado and oomph. Finally, saxophonist Antonio Fedeli adds the sultry instrument at the most appropriate of times, such as one the shining and eloquent "Architettura Dell'Acqua". UTO's style is way more expansive, playful, symphonic, jazzy, retro, bucolic and medieval than anything unleashed by the Destruktiw Kommandohs.

Kick off the Mathematical Mother opus with a 14 minute surge "Terra Cava", a whirlwind demonstration of the various talents at hand, a scat singing opener that quickly evolves into a complex and insistent polyrhythmic explosion with zooming bass, deft stick work, cool piano musings and a hard carving guitar rampage. Fraile's voice seduces immediately, her lung capacity is quite impressive to say the least, extended long series of notes and trembling invocations, a truly impressive diva. The ornamental piano takes over a great deal of the melodic arrangement, sumptuous and elegant as it should be, deepening the reflective emotions and enriching the pace. At the 8 minute mark, the rabidly intense bass guitar rumbles through like a freight train, the dynamic mood turning Saharan and the spirit utterly adventurous. The bass tone is trebly and extremely fluid, a sort of Squire/Entwhistle synthesis that will astound the fans of the mythical instrument. Guitarist Valle then goes on his flowery rant, egging Mattuzzi to take over and rise to the heavens. I find myself slammed right between the eyes by the sheer power of their demanding and virtuous music.

A blistering fury is set with the exalting "Codice Y16", a synth-blasted shorter piece that seeks to underline a kind of a Charlie Brown?like piano motif (you will get it when you hear it), a perfect platform for Mattuzzi's wild synthesizers to parallel Fraile's thrilling and athletic voice. The jazz elements are straight forward here, almost Canterbury-esque in many ways, again muscled along by that impulsion -fueled bass guitar, a joy to follow throughout this splendid disc.

The ebb and flow on "Elogio del Dubbio" will make your head spin, from misty serene to ethereal Gothic as well as out right bull in a china shop, the whole thing just spirals mightily into the celestial heavens. A blizzard of persevering notes, played at breakneck speed, then suddenly, an eerily Dead Can Dance like Arabic lamentation swoops in from the desert, assisted by some cool tablas , meandering into the labyrinths of the mind. Fraile wailing majestically once again, the scimitar-edged pace heightens as the ravaging guitar slashes mightily through the haze. Praise be to the Golin School of drumming, the man is a total beast.

The compelling "Architettura Dell'Acqua" is the masterpiece on this album, a simply incredible piece of music, incorporating the mellifluous soprano voice, lyrics in English and the sophisticated saxophone , unified in an idyllic initial setting, lush with heartbreaking fragility and purest design. Then the alternating themes begin their madcap ballet, the echoing piano treatment giving rise to some furious guitar pirouettes, as well as some dazzling turbo- charged flurries from the band, swift and adventurous. Back to the momentary calm before heading back to the fury. Tons of little details abound, like the squeaky synth wobbles, the heavy rock guitar showcase, the choir additions giving this a Orff-ian bombast that is hard to resist.

Back to jazzier horizons on "Citta Infinite", another perfect platform for Ana Torres Fraile to shine, a mesmerizing vocal display. This is semi-mellow stuff but it does include a snippet from UTO's masterful epic "De Astrologia" off the Magus album, which remains in my humble opinion, a classic prog tour de force. The vibraphone solo from Mirko Pedrotti is eyebrow raising to say the least. Wow! The final track "Mare Verticale" borrows again the disorienting and pounding rhythmic style that is their claim to fame, aided by a devilish bass and drum assault and adorned by some technically astute voice work that never ceases to amaze. I can listen to this a thousand times and still be impressed by the brilliant playing and the technical savvy by each band member.

In recap, this is an album that one can listen to as a whole, then go through it again just listening to one instrument, one at a time. That for me is the inherent attraction of any prog album. To the 19% who labelled this poor and only for completionists , you have my deepest condolences.

5 Measured mammas

 FloŰ ╦ssi / ╦ktah by MAGMA album cover Singles/EPs/Fan Club/Promo, 1998
3.89 | 37 ratings

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FloŰ ╦ssi / ╦ktah
Magma Zeuhl

Review by Tapfret
Collaborator Eclectic Prog Team

4 stars Never have I been much of a collector of singles, but this "single/b-side" CD has a very special place in my collection. Their is a fairly long-winded story that goes along with my affinity for the disc that is likely not particularly review appropriate. The short version is hearing this on the radio (yes, the radio) accidentally one early 1999 night before bed while setting the clockradio alarm. The unmistakable vibrato of Chistian Vander with the familiar muffled ring of slightly overdriven Rhodes whiffled through the tinny little clockradio speaker. "That sounds like Magma!!! ON THE RADIO!" It was, as it turns out, ╦ktah being played during a promotional interview for the 1999 International Progressive Music Festival in San Francisco. What better than to hear Magma on the radio? How about finding out I was about to see them live?!? Something most of us thought would not happen in the US at that time.

The song itself, as previously stated, was undeniably Magma textured. Obviously not the epic composition we have come to expect, but very intricate and tightly mixed music. Vocally the verses not only carry the operatic tonality we come to expect from Magma, but Christian's syllabic rhythms on ╦ktah are unique even for him.

The "A side", FloŰ ╦ssi, is the jazzier of the tunes. My only live experience with Magma has featured Phillipe Bussonnet on bass and he never disappoints. Here, he blasts into the song with his driving, growling sound in he songs jazzy intro, then softens in the middle; complimenting the soft ethereal harmonies of Stella and Isabelle. The song rounds out in less then 3 minutes, but does not feel short or in any way incomplete.

Overall, this is an extremely enjoyable listen, albeit short. It is highly recommended for fans and actually makes a very accessible intro to Magma's sound for the unfamiliar; a feature that actually convinced me this was worthy of tipping to the 4 star side. The catch is availability. To my knowledge, at the time of this review, neither of these songs is featured on any of the many Magma compilations or live publications.

4 Stars

Data cached

Zeuhl bands/artists list

Bands/Artists Country
ALTA¤S France
AMYGDALA Japan
ANAID France
ARCHAIA France
ARKHAM Belgium
BONDAGE FRUIT Japan
SERGE BRINGOLF France
CAILLOU France
CORIMA United States
DAIMONJI Japan
D▄N France
EIDER STELLAIRE France
ELEPHANT TOK France
ESKATON France
FRACTALE France
GA'AN United States
HAPPY FAMILY Japan
HONEYELK France
KAKUSENJO NO ONGAKU (BASE OF FICTION) Japan
KOENJIHYAKKEI Japan
LAGGER BLUES MACHINE Belgium
MAGMA France
MUSIQUE NOISE France
NEOM France
NEW PLEASURE Canada
NOA France
OFFERING France
RYOKO ONO Japan
PAGANOTTI/PAGA GROUP France
PERCEPTION France
POTEMKINE France
PSEU France
RH┘N France
RIALZU France
RUINS Japan
RUNAWAY TOTEM Italy
SCHERZOO France
YOCHK'O SEFFER France
SEKKUTSU JEAN Japan
SETNA France
SHUB-NIGGURATH France
SUPER FREEGO France
LAURENT THIBAULT France
FRANăOIS THOLLOT France
JANNICK TOP France
UNIT WAIL France
UNIVERIA ZEKT France
UNIVERSAL TOTEM ORCHESTRA Italy
UPPSALA France
UTOPIC SPORADIC ORCHESTRA France
VAK France
CHRISTIAN VANDER France
VAULTS OF ZIN United States
VAZYTOUILLE France
WEIDORJE France
XING SA France
ZAO France
ZOIKHEM France
ZWOYLD France

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