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ZEUHL

A Progressive Rock Sub-genre


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Zeuhl definition

Zeuhl is an adjective in Kobaïan, 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 (1/3/2020):
Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)

Zeuhl Top Albums


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

4.28 | 1032 ratings
MEKANÏK DESTRUKTÏW KOMMANDÖH
Magma
4.25 | 700 ratings
K.A (KÖHNTARKÖSZ ANTERIA)
Magma
4.29 | 230 ratings
4 VISIONS
Eskaton
4.23 | 472 ratings
EROS
Dün
4.21 | 517 ratings
ËMËHNTËHTT-RÉ
Magma
4.18 | 334 ratings
TRISTAN ET ISEULT [AKA: ẀURDAH ÏTAH] (OST)
Vander, Christian
4.15 | 489 ratings
KÖHNTARKÖSZ
Magma
4.38 | 79 ratings
MAIS ON NE PEUT PAS RÊVER TOUT LE TEMPS
Thibault, Laurent
4.22 | 178 ratings
MATHEMATICAL MOTHER
Universal Totem Orchestra
4.18 | 207 ratings
WEIDORJE
Weidorje
4.13 | 433 ratings
1001° CENTIGRADES [AKA: 2]
Magma
4.09 | 392 ratings
FÉLICITÉ THÖSZ
Magma
4.32 | 60 ratings
BONDAGE FRUIT II
Bondage Fruit
4.05 | 473 ratings
MAGMA [AKA: KOBAÏA]
Magma
4.66 | 23 ratings
200 000
Zwoyld
4.09 | 133 ratings
LES MORTS VONT VITE
Shub-Niggurath
4.08 | 142 ratings
THE MAGUS
Universal Totem Orchestra
4.08 | 132 ratings
INFERNAL MACHINA
Top, Jannick
4.45 | 30 ratings
VISION
Bringolf, Serge
4.06 | 108 ratings
RITUALE ALIENO
Universal Totem Orchestra

Zeuhl overlooked and obscure gems albums new


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

NEFFESH MUSIC :GHILGOUL
Seffer, Yochk'o
LES MORTS VONT VITE
Shub-Niggurath
BONDAGE FRUIT I
Bondage Fruit
TRIMEGISTO
Runaway Totem

Latest Zeuhl Music Reviews


 Studio Zünd by MAGMA album cover Boxset/Compilation, 2009
4.90 | 67 ratings

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Studio Zünd
Magma Zeuhl

Review by Isaac Peretz

5 stars An amazing collection of Magma's studio albums from debut to K.A, along with an extra CD of unused music from previous years. First of all, Magma is an acquired-taste band. Not all Prog-Heads love their music, and that's ok. We all got different tastes. Now, if you actually like Magma then you really need to have this. It's dozens of high-quality prog music (Except Merci) from the creators of Zeuhl. An absolute must for any Magma fan. I won't talk about the albums since that would make this review 100.000 words big, but I can assure you that almost everything in that box set is worth it. That's basically it, there really isn't much more to say.

I'm giving it five stars because it is literally essential for any Magma fan (Or anyone who wants to get into them).

 Kreidenfels by SC'ÖÖF album cover Studio Album, 2017
3.00 | 1 ratings

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Kreidenfels
Sc'ööf Zeuhl

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

— First review of this album —
3 stars The unpronounceable SC'ÖÖF comes from the Swiss city of Lucerne founded in 2015 by Elio Amberg (saxophone), Noah Arnold (saxophone), Amadeus Fries (drums) and Christian Zemp (guitar). This quartet is known for energetic live shows that take on the task of mangling repetitive rhythms with bombastic dueling saxophone attacks with touches of post-punk guitar riffs.

SC'ÖÖF has so far released two albums, this debut KREIDENFELS which emerged in 2017 on BandCamp and the more recent "Weaving Elephants" which was released by Club Denmark, a label, collective and event location founded in 2019. KRIEDENFELS features six tracks and just skirts over the 31 minute playing time.

This debut is an exercise in free jazz especially the European variety in the vein of Peter Brötzmann, Manfred Schoof or Tomasz Stańko. For those not privy to jazz music distinctions, the European style of free jazz is characterized by highly improvised experimentalism that completely eschews the "swing" of American jazz. The mood is dark and forbidding whilst the guitar additions add a bombastic contrast albeit sparingly.

In many ways, SC'ÖÖF's debut sounds very much like some of the most "out there" examples of free jazz from the late 60s and early 70s, the style that could be heard by artists like Evan Parker, Albert Mangelsdorff or Peter Kowald only SC'ÖÖF adds touches of avant-prog angularities much like Henry Cow's four album run of the 70s.

While punk guitar is present, it only sporadically erupts from the jagged irregularities of the compositional flow. Atonal clean guitar strums are much more common with the duo saxophone attacks constructing the atmospheric turbulence. The most "normal" sound to be heard is the drum rolls that evoke more traditional jazz conventions.

This may be of interest to fans of avant-prog infused jazz bands like France's Jean Louis but overall KREIDENFELS is nothing more than a completely free form jazz run that never coalesces into any sort of album experience and while i do love me some free jazz, SC'ÖÖF doesn't really perform anything here that hasn't been done countless times in the past. This is a decent avant-garde debut but falls short in elevating the world of free jazz.

 Weaving Elephants by SC'ÖÖF album cover Studio Album, 2020
3.00 | 1 ratings

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Weaving Elephants
Sc'ööf Zeuhl

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

— First review of this album —
3 stars Definitely brutal Krautrock.

A Swiss avantgarde jazz rock quartet SC'''F launch eccentric but violent chamber sound explosion coloured with their own noise language. Their latest album "Weaving Elephants" is drenched in their original sticky melodic attacks. What a surprise they can unify their instrumental moments and movements in such a precise manner, but I believe their perfect assimilation can do such a brilliant work.

Although the rhythmic basis is complicated and perplexed, every single phrase is simple and cute. And gradual developments of sound are quite interesting. These phenomena (especially the former part of the second track "Beater") remind me of the similarity to Satan Alfa Beel Atem or so. The first lava flow "Ruminant" is as the title says. Wild crazy saxophone-oriented phrases push our inner brain again and again. Weird percussive footprints stir us up and down. The latter phase of "Beater" is completely of contemporary Krautrock filled with noisy madness and mysterious sound unification.

"Stereotypy" can be said just as Swiss Semool. Gradual sound developments featuring synthesizers and saxophones have been invading into our stomach. Irregular, non-catchable melodic / rhythmic collective cannot easily be digested. Dissected obstinate experimental grandeur. The last "Entertainment" gives us sarcastic attachment, along with repetitive madness. Quite tiny is every single phrase but the collection of elements are supremely flavourful. They do not say any difficult thing but full of pleasure due to such a sincere aggregate of eerie components.

Experimentalism rules, different from one by Horde Catalytique Pour La Fin though.

 Cellule de Crise by MAGISTER DIXIT album cover Studio Album, 2006
4.00 | 2 ratings

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Cellule de Crise
Magister Dixit Zeuhl

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars One of the earliest young modern ensembles to really commit to bearing the torch of Christian Vander's Zeuhl music. Too bad they gave up after this album.

1. "Endless" (5:58) sounds like Magma, just not as tight, not as focused--and singing in English (at first: the title word)! The tempos as expressed by the bass, drums, and vocalists seem scattered all over the place, as if the band were not all on the same page. There's a little of the spirit of COS vocalist PASCALE SON in the voice of lead female, Melanie Fossier. She definitely commands attention. (7.5/10)

2. "Les potits archers" (5:55) whoops! maybe I was wrong: This band can Zeuhl! Everybody seems to gel and relax into the music here. the weaves--both musically and vocally--are absolutely stupendous (except for the way lead male Stéphane Marcaillou's voice is recorded and expressed in the overall mix). Great comportment of the classic Zeuhl tension and great build to resolution. (9.25/10)

3. "De profundis II" (8:18) four voices establish a classic Zeuhl form before transitioning about three minutes in to a jazzed up variation of the same. Violin and Melanie present a new lead melody. Amazing Zeuhl scatting from Stéphane and Melanie in the final third of this slower Magma-like composition. Stéphane must have had some Klaus Blasquiz lessons! Great drumming. (18.25/20)

4. "De profundis III" (4:22) violin and Melanie present a new complex scat pattern, repeated over and over, while instruments below jazz it up. Melanie and the drums really impress. Again, I cannot help but make the Pascale Son comparisons. (8.75/10)

5. "La merveille" (3:57) a sedate, almost dreamy weave of three female vocalists with the guitar, bass, piano, and mostly-cymbals before Stéphane enters as the lead. When Melanie takes the lead, and is then joined by her two female compatriots, the music takes on an almost 1960s pop-jazz feel and style--and the vocal feels like a lullaby or children's rhyme! Unexpected and brilliant! (9/10)

Total Time 28:30

I have been really impressed with the compositional skills of this band and equally so with their performance skills. They really pull off a truly complete and complex Zeuhl album! The weak link is the bass player: he's no Jannick Top! The rest is pretty top notch MAGMA-esque Zeuhl!

B/four stars; if you're a lover of Zeuhl music at its finest, you will love this album. Definitely an excellent addition to any prog lover's music collection. There is just something that, for me, is so magical about this album!

 Dai Kaht II by DAI KAHT album cover Studio Album, 2020
4.32 | 15 ratings

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Dai Kaht II
Dai Kaht Zeuhl

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Perhaps the only zeuhl band ever to emerge from the other F country in Europe, namely Finland, DAI KAHT formed in 2013 and took four years to release it's self-titled debut album in 2017 but unfortunately was still at the alter of Magma worship and came off as a bit too derivative for my tastes. What separated this band from its competition from the getgo was the fact that as a quartet DAI KAHT embraced the traditional rock instrumentation of guitars, bass and drums which by zeuhl standards is quite unique to have a barrage of guitar sounds performing those bubbling zeuhl rhythms. The heavy psych influences from the early 70s timeline cast the band in a more bombastic mood in the traditionally guitar-o-phobic world of zeuhl.

Three years later the returns with a slightly different lineup, a greater number of instruments and a much more developed sense of self thus taking the band out of the gravitational pull of Magma-isms and more into a stylistic approach that sounds somewhat unique although make no mistakes that the French zeuhl scene initiated by the great Magma is still the dominate source of inspiration here. The new lineup consists of founder Atte Kemppainen on lead vocals, bass, percussion, guitar, keyboards, drums and effects along with Oslo Saarinen on drums and percussion and Ville Sirviö on lead guitar, extra vocals and effects. Newbie Roope Pelkonen joins the team on keyboards and although Tommi Ruotsalainen is also on board, he seems to have been demoted to session musician status.

The band's second album simply titled DAI KAHT II also employs the talents of a five-member choir which really takes things into the zeuhl-o-sphere. IMHO this sophomore album which is much more creative in crafting more diverse soundscapes seems to have borrowed from another French source, namely the whacky and crazed modern avant-prog scene from bands like PoiL as heard from the zany rap-attack vocal style of the opening "Han?hin" which features funky bass slaps, psychedelic keyboard wizardry and instead of the usual martial militancy that often seems to come from dark places in the world of zeuhl. DAI KAHT seems to have harnessed a more festive vibe more in the vein of Magma's "Félicité Thösz" rather than the cold Teutonic marches of "Mekanïk Destruktïw Kommandöh."

As the colorful 70s cover art implies, DAI KAHT still relies on healthy doses of psychedelic rock partially inspired by fellow countrymen Kingston Wall but on DAI KAHT II seems to have expanded its horizons manyfold and crafts a unique hybrid of zeuhl, avant-prog and psychedelia. Kemppaninen's vocal range has expanded greatly and the band seem to have found that chemistry they were striving for on the debut. Zeuhl is certainly an easy genre to fall into generic complacency but can also be fertile ground for some interesting explorative efforts. Perhaps the band finally landed on the imaginary world of its making and still makes use of its own created language for all those Magma-esque vocal scats. While the choir does evoke Magma, more often than not doesn't mine from the zeuhl universe at all but rather seems to have looked towards the spastic world of zolo art rock for inspiration. DAI KAHT II is a huge step up from the band's debut and i look forward to follow wherever this Finnish band decides to go next.

 Dai Kaht by DAI KAHT album cover Studio Album, 2017
3.36 | 10 ratings

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Dai Kaht
Dai Kaht Zeuhl

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars When you think of zeuhl, two countries predominantly come to mind. France of course where Magma reinvented the context of progressive jazz-fueled rock and inspired a legion of followers over the ensuing decades. In second place is Japan which has produced some of the more extreme examples of bubbly zeuhl driven bands such as Ruins which took things into strange new turf. Finland however is not a nation that comes to mind but that's exactly where this band DAI KAHT came from. The central city of Kajaani to be exact. This band formed in 2013 by bassist Atte Kemppaninen and in the beginning was smitten by the usual prog suspects such as King Crimson, Yes, ELP, Camel, Gentle Giant and Pink Floyd but somewhere along the line caught the zeuhl bug.

When it comes to zeuhl, all roads of course lead to Magma and DAI KAHT is no exception going as far as to even follow in the footsteps of Christian Zander's eccentricities by crafting an entire language and mythology. While it does seem completely derivative, DAI KAHT crafts a concept that focuses on future space colonialism and even went as far in creating the invented language called Kolöniel which is clearly based on Magma's Kobaïan. The mythology revolves around a spaceship dubbed the Doover Üouh that traverses the universe in order to find that utopian world that is far removed from the corrupt and infected cesspool of reality that plagues the human race on planet Earth. The band released its debut self-titled release in 2017 and in many ways sounds very much like a parallel universe version of Magma with those bubbling zeuhl bass-fueled rhythmic drives with lyrics in an unintelligible language narrating some fictions tale of who knows what.

While dangerously close to Magma territory, DAI KAHT does distinguish itself in a couple of significant ways. The band infuses a heavy dose of guitar fueled heavy psych into the mix which offers a more aggressive assault than anything Magma dished out. This quartet features Atte Kemppainen (voices, bass), Osmo Saarinen (drums, voices), Ville Sirviö (lead guitar) and Tommi Ruotsalainen (rhythm guitar) and although the style is very much out of the Magma playbook, the bombast of the guitars takes a few cues from the psychedelic Finnish band Kingston Wall. The production is rich and the album is a nice modern mix of zeuhl driven psychedelia that is unfortunately too dependent on its inspirations rather than crafting anything remotely clever and original. The band also exists without keyboards and jazz instrumentation which gives this a more heavy rock sound than many zeuhl counterparts but due to the similarities in vocalizations and musical motifs, one can only wonder if this is a long lost Magma album that got rejected.

Overall this is not a bad album at all but i personally have a problem with over-reliances of influence and DAI KAHT on this debut album seems more like a Magma cover band than an original entity in its own right. Through the album's eight tracks and 41 minute playing time, we are treated to those familiar Jannick Top styled bass antics and the consistent flow of marital zeuhl rhythmic flows along with bouts of high tempo frenzies and those vocal led counterpoints. DAI KAHT was created after the sound of Ruins and in terms of tones, timbres and dynamics resonates more with the Japanese bands but as far as compositional flow is much more in the Magma camp. Way too derivative for my tastes but decently done and for those who just can't get enough zeuhl in their world this is not unworthy of exploring but in the end i'd rather just listen to classic Magma over and over than an album brought to us from a group of imitators. In other words, at this point the band needed to develop its own sound.

 Bondage Fruit V - Skin by BONDAGE FRUIT album cover Studio Album, 2002
3.43 | 25 ratings

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Bondage Fruit V - Skin
Bondage Fruit Zeuhl

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars If GODSPEED YOU! BLACK EMPEROR went Zeuhl, the ever-evolving Zeuhl veterans have slowed things down, drawn them out, removed the vocals, and chosen to explore the sound that the space between percussive hits can occupy. Gone are the Crimsonian dynamics or Magma-esque constructs, welcome in the bluesy foundation of all rock 'n' roll, even to Zeuhl! Never before have the commonalities between Zeuhl and UNIVERS ZERO been so evident.

1. "Skin" (29:27) Zeuhl takes a trip to the deep bayou of Louisiana. The music and the performances are still stunning, virtuosic, amazingly tight considering the pace and spacing. Drummer Okabe Youichi is especially impressive for his solid ability to adhere to this very challenging pace while continuing to display his virtuosity. Huge chills when acoustic guitar strums enter at 17:00; great chord progression. Then, in the 20th minute, we return to awesome sparsity and restraint. Again, this drummer deserves to be credited with so much for this brave and spiritual performance. The finish is a kind of Post Rock coming together of all elements and instruments in a cacophonous anti-climax before solo bowed bass takes us slowly out. While not a real fan of Louisiana blues, I know when something special has been achieved, and this is special. I feel as if I have just been put through a religious ceremony; it's as if Miles Teller has reached that level of ecstatic mastery that he fought so hard for in the film Whiplash!. Wonderful stuff! (56.5/60)

2. "Frasco" (19:40) opens with the sound of a traditional Japanese stringed instrument called a "valiha" playing solo. Repetitive single muted electric guitar chord strum is repeated and somewhat arpeggiated while vibes, bass, heavily effected electric guitar, and hand percussion instruments play around above and beneath. Valiha continues to ejaculate riffs between those of a variety of electric guitar sounds and other instruments. In the seventh minute the electric guitar and violin begin to take over the main melody line and, as the other instruments all fall away, the musical fabric itself. By the halfway mark a kind of Japanified Latinized Mahavishnu Orchestra jam has been set in motion--violin and guitar, of course, taking the lead presentations. Interesting! The music then morphs into a more JEFF BECK-like jam with a fairly simple and straightforward melodic riff steering the course to the end. Nice but not my favorite stuff from Bondage Fruit. (34/40)

Total time 49:07

A-/five stars; a minor masterpiece of evolving Zeuhl and an excellent addition to the lexicon of progressive rock music. While the title piece is, in my opinion, a prog masterpiece, the second epic falls well short of these heights.

 Cellule de Crise by MAGISTER DIXIT album cover Studio Album, 2006
4.00 | 2 ratings

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Cellule de Crise
Magister Dixit Zeuhl

Review by Uruk_hai

4 stars Review #77

Wow!! No reviews or rates to this album yet, what you've been missing, people!!

"Cellule de crise" is a short time record that could even pass as an EP with its scarce 28 minutes but believe me when I say it's worth to listen to it.

The MAGMA influence is undeniable; it's amazing how many bands (especially in France) have preserved the original Zeuhl style in their recordings and this unknown band is one of them. The hypnotic bass lines, jazzy drums, female chorus, incessant piano and sensual violins don't stop in these violent but yet beautiful short songs.

What I like the most about "Cellule de crise" is that the lyrics are in French and not in Kobaian, it's not that I don't like Kobaian lyrics but at least with French I can use a translator to understand them.

This is one of those lost in times gems that couldn't earn big popularity not even in a very little popular musical genre such as Progressive Rock, but really, if you enjoy old school Zeuhl as MAGMA, WEIDORJE, ESKATON, DÜN or EIDER STELLAIRE you're going to love this album.

 Retort by UNIT WAIL album cover Studio Album, 2013
4.00 | 19 ratings

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Retort
Unit Wail Zeuhl

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The sophomore album from these young and ambitious Zeuhl-meisters. The dark CRIMSONian tone is still here, but the band has cleaned up the schizophrenic soundscapes and matured quite a bit in the compositional department, employing more multiple themes per song than before. Though interesting and creative sonic explorations continue for the bass and keyboards players, not so much for Franck's lead guitar. Still attracted to shorter song formats, the band has included their first longer song ever in the finale, "Aqua Permanens."

1. "Kakodeamon" (3:40) great opener! What a pace! Let's me know how these guys have grown: far more cohesive King Crimson-influenced Zeuhl. A top three song. (9/10)

2. "Peregrinatio" (4:11) kind of a continuation and variation on the opener with more synth and lead guitar inputs and more prominent "lead" bass. Mellotron is much more prominent--and ubiquitous--on these songs than on Pangaea Proxima. (8.5/10)

3. "Tertium Comparationis" (3:33) It's like that bass is talking to us! Electronica synth and Fripptonian guitars. After 90 seconds there is an unexpected quieting while TOBY DRIVER-like effected lead guitar plays some notes in the background. Then Mellotrons drench the scape as we return to the opening weave. Interesting. Perhaps this is where Toby got some of his impetus for turning back to 1980s techno-soundscapes. (8.5/10)

4. "Concupiscentia Effrenata" (3:28) sounds like a mix between OZRIC TENTACLES and some of jazz-rock fusion's more adventurous keyboard explorers (Herbie Hancock, Jan Hammer, Chick Corea, Edgar Winter, Moogy Klingman). Very jazzy. A top three song for me. (8.75/10)

5. "PumaPunku" (5:35) very CRIMSON-like. My other top three song. (9/10)

6. "Numinosity" (4:03) surprisingly sedate and straightforward (for a King Crimson-inspired song). (8.25/10)

7. "Agathodeamon" (4:07) love the 1970s-like harpsichord hits! Very cinematic with it's long start-n-stop first half and brief passages into fifth gear--like a car chase scene. (8.5/10)

8. "Coincidentia Oppositorum" (3:47) (8/10)

9. "Fixatio" (4:20) I still get a kick out this band's use of the "harpsichord" sound--especially when the music turns so dark and CRIMSON-like as it does here. Then there's the Jaco Pastorius tribute in the middle. (8.25/10)

10. "Aqua Permanens" (6:46) more harpsichord! More cerebral, methodic and NIL-like in its Zeuhlishness. I like the Jaco display in the middle of this one much more than on the previous song. (13/15)

Total Time 43:07

I don't know why, but bass and drummer Adrain Luna and Philippe Haxaire, respectively, are much more tame in this collection of songs than on the band's debut. As a matter of fact, the entire album's collection of music seems more sedate and controlled (and Mellotron-dominated) than the display of wild on-the-edge reckless abandon that Pangaea Proxima put forth. It's as if the band recorded the songs of Retort after the one night of wild amphetamine abuse explored on Pangaea Proxima.

I really have trouble rating this next to its predecessor as they are two completely different animals, wild and tamed--and yet only one year apart!

B/four stars; another very nice contribution to the 21st Century Zeuhl renaissance and a nice show of growth and maturity from this energetic, creative band. Highly recommended for lovers of Zeuhl and 2nd incarnation King Crimson (1972-5).

 Pangaea Proxima by UNIT WAIL album cover Studio Album, 2012
3.80 | 21 ratings

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Pangaea Proxima
Unit Wail Zeuhl

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Debut release from these heavy Zeuhlish artists from France. Thought the Zeuhl categorization may be warranted, I hear a lot of KING CRIMSON sound and stylings as well as TOE-like Post Rock.

Line-up / Musicians: - Franck William Fromy / guitar - Philippe Haxaire / drums - Adrian Luna / bass - Vincent Sicot Vantalon / keyboards - Emmanuel Pothier / synthesizers

1. "Mesozoïc Cities" (3:22) more like Red-era King Crimson! They've got that polyrhythmic thing going on (though I'm not sure it always works). (8.5/10)

2. "Ombos" (3:39) paced a little more humanely to allow for proper brain processing, this one has some melody! (8.5/10)

3. "Télété" (2:41) drum and bass on display! Interesting use of harpsichord sound and 'tron! (4.25/5)

4. "Sargasso Sea" (4:03) atmospheric effects joined by TOE-like drums, ominous electric guitar strokes and Mellotron. (8.75/10)

5. "Outerspace" (4:57) almost European techno-dance music! Very creative synths, guitars, and bass. Great drumming--except it almost doesn't fit the mood of the rest of the musicians. (8.25/10)

6. "Humanoïd Fish From Encelade" (2:23) a very bizarre spliced-feeling purveyed by unusual sounds created by bass, guitars, and keys all played over the usual frenzied drumming. (4/5)

7. "Home of Nowhere" (4:31) slow and menacing, like a damaging walk through Tokyo by Godzilla. Awful bass solo in the fourth minute! Now this one could've used the drummer's usual wild drumming! (8/10)

8. "Magnétostriction" (2:38) angular guitar soloing over relatively slow and stable music. (4/5)

9. "Holocene Extinction" (3:35) The innovative bass sound on this catchy song is almost MICK KARN-like. (8.75/10)

10. "Shambhala" (5:15) the interplay of the Outer Limits-like lead synth sound and the wild MICK KARN-like bass sound and play definitely incurs smiles (and is impressively creative!). (8.5/10)

11. "Three Eyes" (2:23) more angular guitar soloing over a rather wide range of styles and paces (including prominent piano presence) makes for quite a multiple personality disorder. (4.25/5)

12. "Subdeath" (4:43) it does sound funereal--as if one were marching alongside Charon on one's entry into Hades. Nice use of demonic male voice in narration. (8.25/10)

Total Time 44:10

Very impressive musicianship throughout--especially from the drummer and bass player though the keyboard maestroes and guitarist are very creative. The problem comes from the gradual disconnect that I hear and feel between the music being cast by everybody except the drummer (which is very creative and spacey) and the homogeneity of the drummer's very aggressive sound and style.

B/four stars; an impressive debut and highly recommended listen for any prog lover--especially if you're into 1. the Red-era King Crimson style and sound palette, 2. into frenetic drum-centric music, or 3. very creative sound-making.

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Zeuhl bands/artists list

Bands/Artists Country
ALTAÏS France
AMYGDALA Japan
ANAID France
ARCHAIA France
ARKHAM Belgium
BONDAGE FRUIT Japan
SERGE BRINGOLF France
CAILLOU France
CORIMA United States
DAI KAHT Finland
DAIMONJI Japan
DÜN France
EIDER STELLAIRE France
ELEPHANT TOK France
ESKATON France
ÉVOHÉ France
FOEHN France
FRACTALE France
GA'AN United States
HAPPY FAMILY Japan
HIATUS France
HONEYELK France
IKARUS Switzerland
KAKUSENJO NO ONGAKU (BASE OF FICTION) Japan
KOENJI HYAKKEI Japan
LAGGER BLUES MACHINE Belgium
LAKTATING YAK United States
MAGISTER DIXIT France
MAGMA France
MUSIQUE NOISE France
NEOM France
NEW PLEASURE Canada
NOA France
OFFERING France
RYOKO ONO Japan
ORVALIANS France
PAGANOTTI/PAGA GROUP France
PERCEPTION France
POTEMKINE France
PSEU France
RHÙN France
RIALZU France
RUINS Japan
RUNAWAY TOTEM Italy
RYORCHESTRA Japan
SC'ÖÖF Switzerland
SCHERZOO France
YOCHK'O SEFFER France
SEKKUTSU JEAN Japan
SETNA France
KENTA SHIMAKAWA United States
SHUB-NIGGURATH France
STALINGRAD 119 France
SUPER FREEGO France
SYNCOPATED SILENCE Russia
LAURENT THIBAULT France
FRANÇOIS THOLLOT France
JANNICK TOP France
UNIT WAIL France
UNIVERIA ZEKT France
UNIVERSAL TOTEM ORCHESTRA Italy
UPPSALA France
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