A Progressive Rock Sub-genre

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Zeuhl definition

Zeuhl is an adjective in Kobaan, 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 (27/8/2014):
Steve (HolyMoly) ... team leader
Luca (octopus-4)
Ori (frippism)
Ian (Nogbad_The_Bad)

Zeuhl Top Albums

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

4.30 | 679 ratings
4.30 | 486 ratings
4.24 | 363 ratings
4.27 | 146 ratings
4.18 | 405 ratings
4.20 | 252 ratings
4.32 | 103 ratings
Top, Jannick
4.24 | 133 ratings
4.15 | 260 ratings
4.13 | 310 ratings
4.50 | 40 ratings
Thibault, Laurent
4.09 | 355 ratings
4.04 | 324 ratings
4.32 | 37 ratings
Bondage Fruit
4.10 | 101 ratings
Universal Totem Orchestra
4.08 | 96 ratings
4.08 | 77 ratings
Universal Totem Orchestra
4.05 | 80 ratings
Eider Stellaire
4.09 | 53 ratings
4.70 | 11 ratings
Bringolf, Serge

Zeuhl overlooked and obscure gems albums new

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Latest Zeuhl Music Reviews

 Slaǧ Tanƶ by MAGMA album cover Singles/EPs/Fan Club/Promo, 2015
4.05 | 27 ratings

Slaǧ Tanƶ
Magma Zeuhl

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Deranged, overwhelming and pulsing with dark intent and ferocious intensity, Magma's `Slaǧ Tanƶ' is a twenty-one minute epic that leader Christian Vander and his Zeuhl brethren have been performing and refining live since 2009. Once again delivered in the Kobian language, it's brimming with the expected Magma ferocity and carefully executed musicianship, another bewildering extended piece that seamlessly weaves dark musical themes and intricate male/female vocal complexity together. It's exhausting in its shadowy, stalking ferocity yet reveals little fleeting traces of that impossibly beautiful, heartfelt delicateness that only Magma can balance so well.

Creeping from it's very first second, spectral piano and murmuring bass lurks behind skittering jazzy drum patters hiding dark intent waiting to be unleashed. Infernal choirs wail, each rapturous vocal proclamation returned with a crushing beat and discordant piano stabs. Trickles of electric piano, spirited female scat vocal interjections and dreamy sighs are merely a sickening tease of light and release. Pleading, comforting, swooning voices are consumed by heavy guitar snarls and thrashing drum spasms behind dank repetitive maddening bass bile that comes up in your throat. Shrieking mind-breaking maddening chants over infernal devilish piano wickedness drags you further into in the dirt, as despondent staccato piano over gothic drones finally slams the coffin lid closed.

Don't be alarmed by the seemingly short running time - this is an exhausting, draining experience that is completely paralysing, so full of intricate little details and complex variety that you could spend a lifetime trying to figure it all out. While this lacks the joyous gospel sophistication of their stunning previous work ` Flicit Thsz' (excluding the recent re- recording of an earlier work with `Rah Sahltaahk'), this is a return to the true dark side of Magma, sure to please the disciples of the most challenging works of this musical cult.

Hypnotic, powerful and more dynamic, complex and inspired than ever, over forty years into their career, and still no one can come close to offering the sort of intense experience Magma brings.

Four stars.

 Attahk by MAGMA album cover Studio Album, 1978
3.68 | 259 ratings

Magma Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars The musical times were a-changin' and even the Kobaians were influenced by the heavy gravitational forces of the music industry. MAGMA had broken up for a year after "D ẀD" but Christian Vander decided to resurrect the band two years later with an entirely different lineup and with it an entirely different sound. Out of the thirteen musicians and vocalists to be on the previous album, only Vander himself, vocalist Klaus Blasquiz, vocalist Lisa Bois and keyboardist Benot Widemann returned for the sixth MAGMA album ATTAHK. Out were Bernard Paganotti and Patrick Gauthier who left to form Weidorje as well as the enigmatic Jannick Top whose contribution was seemingly irreplaceable and the musical cast has been trimmed down to a mere eight performers. This is a strange album in the MAGMA discography as it seems utterly disjointed from the rest (still haven't heard "Merci" though.) Gone are many of the complexities from the first few albums and gone are the interesting developments of "D ẀD" and instead what we do get is a more watered down version of zeuhl mixed with a lot of more accessible musical styles.

A lot of this is a matter of personal taste, of course, but i just don't find this album as enchanting as the rest. Kobaian music, after all, isn't supposed to be designed for Earthly consumption. It is supposed to be alien and take you somewhere you never considered. ATTAHK never seems like it is going anywhere specific and randomly lollygags through a rather MAGMA-by-the-numbers approach of shortened takes on previous albums. Take the first track "The Last Seven Minutes" for example. What we get here is a zeuhlish take on funk where it sounds like Vander is trying to take his vocals to new levels. After several minutes of this funky zeuhl we get some of his most intense screeches and high pitched squeals ever. The only problem with this for me is that it ends up sounding like a cross between the high falsettos of Prince from the "Lovesexy" album mixed with the trills of an orgasmic Edith Piaf. It seems incessant at the end and i am left wondering just what he had in mind with this one.

For some reason i'm just not keen on this simplified version of MAGMA. I am hardly against pop music and when progressive pop works for whatever reason i am quite receptive but this album drifts hither and tither without developing those elements sufficiently. That said, this album isn't totally without its merits. It's really the first two tracks that turn me off totally, but starting with "Rind" (which would be stolen and incorporated into "mhntht-R" like tracks from other MAGMA albums) the pace picks up and although the tracks are short, sweet and to the point they at least sound more within the Kobaian universe of intergalactic Top 40 hits at least. There will be many familiar elements from the past only embellished with much more Vander falsetto squeals laced with healthy doses of funk, R&B, gospel and pop elements. My favorite track on here is the closing "Nono" which has a bass worthy of the departed Jannick Top being on board.

This is an album that is hard for me to get excited about but is an ok listen when all is said and done. Just expect a MAGMA lite and you won't be too disappointed. Definitely one of the weaker albums in the discography but this is MAGMA after all and even the bottom of the barrel has a lot of interest and worthy of adding to any collection. I personally like the album cover a lot but despite its ber-hipness by H.R. Giger, the music just doesn't measure up to the expectations i had for it. As good as some of these tracks are it isn't quite the otherworldliness that the Kobaians have been so adept in spoiling us with. This MAGMA stream isn't exactly a steaming hot pyroclastic flow of originality laced with Kobaian litanies of tales of extraterrestrial phenomena but hardly a throwaway album either.

 Theusz Hamtaahk - Trilogie Au Trianon by MAGMA album cover DVD/Video, 2001
4.34 | 34 ratings

Theusz Hamtaahk - Trilogie Au Trianon
Magma Zeuhl

Review by CassandraLeo

5 stars What's better than listening to an essential concert recording? Watching video footage of the same recording, of course.

It's rare that I recommend a live recording to newcomers to a band, but Magma is best heard live, and the Theusz Hamtaahk Trilogie happens to be one of the band's very best recordings.

Magma recorded these concerts after more than fifteen years of dormancy, so the fact that the band is so on point may come as a shock to listeners. The performances are passionate throughout while remaining technically flawless, and the recordings have a warmer feel to them than the band's Seventies material. Zeuhl has always been potentially somewhat off-putting to newcomers, but this (alongside some of the band's newer recordings K.A., mhnthtt-R, and Flicit Thsz) is amongst the least intimidating recordings Magma has ever made, despite its length.

The fact that the material being performed here is essential in any case doesn't hurt. The band's best known album, Mkank Dstruktẁ Kmmandh, is here, as are Ẁurdah tah and the suite that gives the album its title (which still has yet to be released as a studio recording). All three rank among the band's very best compositions, and they are represented admirably here. The fact that this is the first recording in which all three (which are, as the title might indicate, three parts of a trilogy) can be heard performed by the same line-up doesn't hurt either, as it gives a consistency to the proceedings that cobbling the pieces together from different recordings would not have.

In short, this is essential for both interested newcomers and longtime devotees of the band. It's one of the best introductions to zeuhl I could imagine, and it's one of the high points of the genre. We can only hope that they give the Khntarksz trilogy the same treatment now that it's complete.

 K.A by MAGMA album cover Studio Album, 2004
4.30 | 486 ratings

Magma Zeuhl

Review by Conor Fynes
Prog Reviewer

5 stars 'K.A' - Magma (96/100)

I wasn't aware of Magma when K.A (otherwise known as Kohntarkosz Anteria came out in 2006, and even had I been, I doubt I would have been able to appreciate the magnitude and significance of their comeback. The overlords of Zeuhl had remained silent for decades; the interregnum between K.A and the infamous pop attempt Merci in 1984 had seen the emergence of plenty of would-be Zeuhl and otherwise Magma-influenced bands, but suspicious little from Vander and co. It's been over a decade now since K.A came out, and it still strikes me with a bit of amazement that Magma were able to go so long without releasing anything of substance, and return with their most beautiful, energetic and impressive, yet undeniably accessible album to date. Ranking it within Magma's own accomplishments isn't enough to testify to its quality however; this is one of the greatest albums I have had the pleasure of hearing, in Zeuhl, in avant-garde and progressive rock, in adventurous music in general. The prospect of comeback albums usually entails something half-baked and dated. A surprise achievement like K.A is virtually unheard of.

Calling it a true comeback might not be entirely accurate; band mastermind Christian Vander had written most of the music in the midst of Magma's most prolific and successful years. Why he decided to sit on the music for half a lifetime is beyond me; needless to say, it's a good thing he finally decided to let the cat out of the bag. K.A is a considerably livelier album than Mekanik Destruktiw Kommandoh or Kohntarkosz. Where M.D.K was slow to start, K.A hits its full stride in less than a minute; following a soft entrance, Magma lets loose a surge of cosmic chamber rock, replete with the feminine choral arrangements and cerebral grooves the band have earned their reputation on. In many ways, K.A is a manifestation of Magma at their most accessible. Without having streamlined or cheapened the depth, they distilled some of the more jarring elements of their execution, namely the dissonant antics and caterwauling. The screechy parts of Magma's sound were a large part of why it took me so long to warm up to them, even when their talent was readily apparent to me. The band's signature blend of alien operatic fusion will still likely make for some uneasy digestion for newcomers, but given that Magma are-- if nothing else-- known for their eldritch and challenging material, that comes with the territory.

I'll offer a lapse of my authority as a reviewer by openly admitting I have little idea what the concept or 'story' of Magma's music is all about, much less this particular chapter. From what I understand, it's some apocalyptic saga of the planet Kobaia; the French have always had a cunning grasp of sci-fi pulp and space opera. While M.D.K gave the martial impression of a fleet preparing for war, K.A is much more optimistic, as if the planet Kobaia were celebrating some unlikely victory. Although there's not a lot of semantic sense to be made from the Kobaian language, there is an expanse of feeling in the voices. Magma's vocal arrangements tend to hum around a repeated choral motif, with a lead voice guiding things along. In many ways, the stars of the show are the female voices. Stella Vander, Isabelle Feuillebois and Himiko Paganotti are quick to grab my attention, not by the strength or 'hook' of their melodies, but the wealth they've invested in their harmonies.

Magma love to turn to repetition when they've got a good thing going on-- a focus on melody may have served to wear the ideas out, but close attention reveals that the harmonies are constantly in motion. There are several times throughout the three movements where I noticed the band returning to, and completely refreshing a past motif by the merit of an added voice, a shift in focus, an ever-so-slight change in the harmony. Part of what sets has long set Magma apart from so many of their contemporaries (and inevitably, has made their style that much more alienating) is the sense that they don't dissociate the vocals from the composition. Where most rock n' rollers see vocals as a guide above the sea of instruments, the vocals here are another instrument.

Zeuhl has been a tricky thing for me to get into over the years. If the way I've fumbled through this review is any indicator, the genre itself is pretty hard to pin down, and virtually any discussion of Magma and their acolytes should come with the caveat that their music is not for the faint of heart. Regardless, I am incredibly glad I finally managed to get into their music. While their appeal baffled me throughout high school, I do wonder if I would have had an easier time getting into them had I been introduced via K.A. Even beyond the album's context as a 'comeback', this is Magma at some of their most inspired and passionate. Where other albums of theirs have usually demanded at least a few listens before I start to appreciate them, this one was love at first listen. And unlike so much of the instantly gratifying art out there, this album has never seen fit to lose its magic for me. The connection has only grown with the passing of seasons and subsequent listens. To be honest, it's rare that an album hits me with the emotional force of K.A. The three movements flow together virtually seamlessly; although my cynical side might like to criticize the third act for being a little more longwinded, less compelling than the first two, the journey Magma takes with this album feels just about flawless, if not in the perfect technical sense, then certainly in an emotional one.

 Merci by MAGMA album cover Studio Album, 1984
2.52 | 154 ratings

Magma Zeuhl

Review by coldwhitesky

4 stars When I first heard this album I was a bit put off, I didn't hate it, but it didn't really make me want to listen to it more. Maybe it was how the sound related in some way to music I've heard before that I didn't appreciate. Nonetheless as I kept growing so to did my perception of this music, although this album deviates from the celestial sound we know, It is ZEUHL. If you listen with an unbiased ear, you can feel an energy equal to that of previous material. For me MAGMA is about expanding what we already know, to think up new things and grow, to purify the soul and to enlighten the mind, this album does not deviate from that. Starting with Call From the Dark, the sound is quite familiar for its time, but with musicianship fitting for Magma. The lyrics deal with the feeling of being in love. The next track, Otis, is a tribute to Otis Redding. The melodies on this track are quite captivating, radiating beauty. Softer then what is typical of MAGMA, but rich nonetheless. The next track, Do the Music is much more familiar, Good drums, everything feels well tied together. I'd go as far as to say this track is one of my favorite by MAGMA. "Otis(ending)" is a short slowed down version of a melody in Otis, accompanied by an organ. The next track, "I Must Return" could almost be cheesy, but somehow MAGMA always adds that extra thing to make the music alive, so it escapes being cheesy. The lyrical content in this track deal with dying and the beyond, metaphysics, returning to the core. themes that seem to fit this kind of music. Eliphas Levi, the 6th track, is a calming 11 minute track with emphasis on Flute, Piano and vocals, I don't have much to say about it beyond that. The last track, "the Night We Died" starts with a Kobaian version of a melody in"I Must Return" accompanied by piano, then drifts into the rest of the song, which turns into something quite dissonant and ambient, The song title is fitting for a beautiful expression of death and life. To conclude, I think this album is quite underrated. When listening with an open mind and heart its easy to find substance here, but it definitely deviates from the MAGMA people are used to.
 Four Years by ANAID album cover Boxset/Compilation, 1991
2.52 | 6 ratings

Four Years
Anaid Zeuhl

Review by apps79
Special Collaborator Honorary Collaborator

3 stars 80's French band, which involved Canterbury legend Hugh Hopper and two guitarists linked with the Canterbury scene, Patrice Meyer and Rick Biddulph.They existed sometime between 1985 and 1990 with the leaders being female singer Emmanuelle Lionet and percussionist/keyboardist Jean-Max Delva.They released a cassette album in 1986, ''Vetue de noir'', recorded at Studio Adam in Roissy en Brie and three years later they self-released their overlooked debut ''Belladonna'' on vinyl with a vastly different line-up, now including saxophonist Pierre-Marie Bonafos, recorded at Studio RB in Montigny.This debut along with a few pieces from the first casette were released on the Aya label as ''Four years'', a couple of them were re-recorded versions of the old tracks with Jean-Luc Distch on drums and Rick Biddulph on bass and guitar.

They played an irritating Zeuhl akin to masters of the sound MAGMA to go along with some experimental vibes, Jazz improvisations and Gothic aesthetics, propelled by Delva's dominant synth experiments and percussion, the gradiose operatic atmospheres and Lionet's outlandish, wordless vocals.There is even a slight Canterbury touch, which is pretty reasonable, considering that musicians from the scene were involved in Anaid, especially during the more Fusion-like moments, but generally the mood goes into theatrical, operatic territories with certain Jazz flavors and some orchestral pomposity.There is some bit of incosistency in here with tracks like ''Nord-sud'' and ''Sea and saw'' sounding like failed attempts on 80's Fusion, Funk and tropical Jazz Rock with some commercial brances and not sitting comfortably next to the otherwise sinister sounds of the remaining pieces.Fortunately the rest of the album is pretty decent Zeuhl/Jazz with some great bass work, Delva managing to create obscure atmospheres with his percussions and vibrahone and Lionet appearing as a very strong vocalist.Odd rhythms, jazzy exercises, light Fusion interplays and the excellent ''Belladonna'' being a great example of soft Jazz mixed with intense Zeuhl and Minilamism.

Good 80's Zeuhl, that has escaped from the radars of many listeners.Both haunting and ethereal atmospheres with nice work on bass, sax, guitars and percussion and some superb female vocals.Recommended.

 Gurison by SETNA album cover Studio Album, 2013
4.09 | 53 ratings

Setna Zeuhl

Review by Mellotron Storm
Prog Reviewer

4 stars It's been six years since their debut album "Cycle I" was released, an album I rate extremely high, in fact it's my number two album for 2007. There are a few changes on this one as Benoit Bugeia who was a guest on the debut is now a full-time member, and Nicolas Goulay a former member is now a guest. The female vocalist from the debut has been replaced by a male singer and Benoit Widemann guests on minimoog.

"Cycle II" is a three part suite beginning with light drums and fender rhodes in this laid back and jazzy intro. Some fuzzed out bass joins in then the vocals before 1 1/2 minutes. Love the distorted keys that bring Canterbury to mind. Some backing vocals as well later on in part I. The last two sections are gorgeous with those distorted keys with bass and drums standing out.

"Triptyque" is divided into three main themes and eight total parts. It begins with sounds coming and going and check out the minimoog as the synths sweep in the background. It settles back as the vocals arrive including some backing vocals. A calm with vocal melodies arrives in part III with drums and a wind instrument. I'm reminded of a mellower MAGMA when the vocals come to the fore. Fuzzed out bass late. The second main theme opens with liquid keys and atmosphere as haunting vocal melodies arrive. The guitar cries out ala Gilmour. It picks up some in part II of this suite and it sounds amazing. The vocals stop late in this part as we get organ-like sounds then flute. Beautiful. The third main theme is relaxed as vocal melodies arrive then it builds slowly.

The final main theme is called "Guerison" and is divided into four parts. Random drum patterns and atmosphere to start and it all settles down late in part I. Drums lead the way in part II as keys then vocals join in. Lots of minimoog and vocals before it settles back late in part II. Love the distorted keys in part III, very Canterbury-like. Vocals arrive during the final part but they stop halfway through as it settles.

I'm in the minority for sure in rating the debut higher than this one but I miss those female vocals and the atmosphere that was simply stunning. A very solid 4 stars.

 Andromeda by RUNAWAY TOTEM album cover Studio Album, 1999
3.53 | 27 ratings

Runaway Totem Zeuhl

Review by apps79
Special Collaborator Honorary Collaborator

3 stars The completion of ''Zed'' marked the end of a phase and the beginning of a new era for Runaway Totem, named Kalpa.At the end of the 90's the band would quit from performing live and focus on the first part of a trilogy named ''Cosmic cycles''.For this album they recruited a full-time keyboardist in Roberto Veronese aka Virhur.Additionally they moved from Black Widow Records to the French Musea label.The album was released in 1999 under the name of ''Andromeda''.

While they retained the obvious qualities of the previous album, ''Andromeda'', as part of the ''Cosmic cycles'' trilogy, required a bit of spacious components, so Runaway Totem ran the album with plenty of synthesizer in the forefront and some heavy, orchestral arrangements shining through.The epic and operating singing parts and the powerful Zeuhl activities are still strong elements in their music, imagine DEVIL DOLL playing a dynamic Zeuhl style, while the angular riffs, the dominant rhythmic guitars and the Classical-inspired organs make up for a huge, sinister and theatrical atmosphere.A set of five tracks, slightly over or under the 10-min. mark, passes through bombastic sections, grandiose orchestrations, dark soundscapes and mysterious vocals, they even added some ambiental textures in the process to unveal the album's cosmic enviroment.It sounds a bit more focused of a release compared to the previous works, this one is well balanced between haunting, symphonic segments and Zeuhl-like operations with emphasis on the flaming guitars and heavy keyboard work.

Music, that could have been easily performed in a cathedral.Sinister, atmospheric Heavy Rock/Zeuhl with elements of Rock Opera, nice and energetic arrangements and very irritating vocal parts.Strongly recommended...3.5 stars.

 Mkank Dstruktẁ Kmmandh by MAGMA album cover Studio Album, 1973
4.30 | 679 ratings

Mkank Dstruktẁ Kmmandh
Magma Zeuhl

Review by JJLehto
Prog Reviewer

5 stars Generally considered the best, or at least definitive, Magma you won't find any disagreement from me.

MDK is a departure from their first albums which were more like jazz rock and moves into the genre of "Zeuhl". What exactly that is...I'd say it's best to just listen for yourself and give it a try, but for the sake of this review I'll just say MDK is symphonic, jazzy, prog rock in a made up language.

This made up language is common to almost all Magma albums, and while this is a hold up to some, I feel it's no different than scat singing: The words are not what matters, but the sound. The vocals, over lyrics, how it fits the music, which it does superbly. The vocals are orchestral, intense, often crazy, but passionate and emotive. Which is what can be said of the album album. It is undeniably insane, ridiculous and over the top but it's equally passionate and emotive. This is an intense album without doubt. Oh, and sure I know there is a story to this album and Magma in general, of which we know some details, but frankly I don't bother and just enjoy the music.

The album has a great flow to it as the songs move seamlessly, it is more of an overall than individual song experience, but some standouts in my book are Hortz Fur Dhn Stekhn Ẁest, Da Zeuhl Ẁortz Mkank and Mkank Kmmandh.

So, there's not much else to say about this album and no better way to understand it than trying it yourself. Just take it for what it is and you will find this is an ambitious, innovative, fun, powerful album packed with feeling, (something I think often lacks in prog, much as I love prog) superb song writing, and Vander's epic drumming. Operatic classical mixed with jazz and built in a prog rock style, this is one wallop of an album!


 Minimal Gods by HAPPY FAMILY album cover Studio Album, 2014
3.85 | 22 ratings

Minimal Gods
Happy Family Zeuhl

Review by Mellotron Storm
Prog Reviewer

4 stars I think the most surprising news for me in 2014 was hearing that HAPPY FAMILY was releasing a new album. They released two studio albums in the nineties and I just thought they were done. I listened to a short audio clip and I was sold. Like their earlier albums this is heavy and complex and all instrumental. In fact after my first listen i'm thinking this is more Math Rock than Zeuhl, I just don't hear that Zeuhl flavour at all on this one. The keyboards don't always do it for me so I would rate their first two albums higher than this one but they are all 4 star records in my opinion.

"Slide" is heavy-duty and quite growly and deep sounding. Angular guitar leads follow and they will come and go. Just an intense slab of instrumental music. "No Talent, No Smell" is another complex piece that is very mathy. I'm not a fan of some of the keyboard sounds but this is an excellent song overall. "Rodrigo" is heavy again with keys playing over top. It does settle some as the contrasts continue. Ripping guitar before 2 1/2 minutes. "Portal Site For Sightseeing" has some light shining in it for a change as we get an almost feel good vibe. Check out the guitar and drum work after 2 1/2 minutes. Amazing! Nice bass lines before 5 minutes as well. This is an uptempo track with lots going on. "Doggy-Human Contest" is uptempo with keys as the guitar plays over top. Check out the drum work as well. Some cool guitar/keyboard interplay around 3 1/2 minutes in then it turns dark and heavy 4 minutes in. Nice. Nasty and growly organ runs follow along with some deep bass grooves.

"Animal Spirit" has riffing and more in this fairly heavy and complex piece. The keyboards are all over it as well. "Cat Riding Roomba" is crazy fast with so much going on. There's a Zappa flavour to this one. It does settle back at times but not a lot. "Celestial Illegal Construction" opens with keys as some kick-ass drums join in. The guitar starts to make some noise over top. I like the guitar solo after 3 minutes here. Not a fan of the synths before 4 minutes though. It ends in a more calm manner. "Tibadabo" is very mathy with keys, guitar and drums standing out. It settles down before a minute but contrasts will continue. Great sound 2 1/2 minutes in with liquid keys then the guitar lights it up before it settles back again. "Feu De Joie" has this heavy and growly sound to start before a calm with keys takes over quickly. Back to the heaviness with organ. Synths play over top in a high pitched manner. Themes are repeated. What a killer closing track.

I was expecting more I must admit but this is still a very impressive album and comeback by HAPPY FAMILY.

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Zeuhl bands/artists list

Bands/Artists Country
ALTAS France
ANAID France
ARKHAM Belgium
CORIMA United States
DN France
GA'AN United States
MAGMA France
NEOM France
NOA France
PSEU France
RHN France
SETNA France
XING SA France
ZAO France
ZWO YLD France

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