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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 | 794 ratings
MEKAN¤K DESTRUKT¤W KOMMANDÍH
Magma
4.27 | 555 ratings
K.A
Magma
4.25 | 408 ratings
EROS
DŘn
4.28 | 179 ratings
4 VISIONS
Eskaton
4.19 | 430 ratings
╦M╦HNT╦HTT-R╔
Magma
4.19 | 284 ratings
CHRISTIAN VANDER: TRISTAN ET ISEULT [AKA: ẀURDAH ¤TAH]
Magma
4.24 | 154 ratings
WEIDORJE
Weidorje
4.16 | 310 ratings
F╔LICIT╔ THÍSZ
Magma
4.13 | 345 ratings
1001░ CENTIGRADES [AKA: 2]
Magma
4.44 | 54 ratings
MAIS ON NE PEUT PAS R╩VER TOUT LE TEMPS
Thibault, Laurent
4.11 | 391 ratings
KÍHNTARKÍSZ
Magma
4.18 | 112 ratings
INFERNAL MACHINA
Top, Jannick
4.05 | 372 ratings
MAGMA [AKA: KOBA¤A]
Magma
4.15 | 103 ratings
THE MAGUS
Universal Totem Orchestra
4.33 | 43 ratings
BONDAGE FRUIT II
Bondage Fruit
4.07 | 105 ratings
LES MORTS VONT VITE
Shub-Niggurath
4.10 | 77 ratings
RITUALE ALIENO
Universal Totem Orchestra
4.06 | 91 ratings
EIDER STELLAIRE I
Eider Stellaire
4.11 | 68 ratings
GU╔RISON
Setna
4.21 | 40 ratings
ARCHA¤A
Archaia

Zeuhl overlooked and obscure gems albums new


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

AMYGDALA
Amygdala
LES MORTS VONT VITE
Shub-Niggurath
TOSCCO
Happy Family
BONDAGE FRUIT I
Bondage Fruit

Latest Zeuhl Music Reviews


 Amaterasu by CORIMA album cover Studio Album, 2016
4.15 | 8 ratings

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Amaterasu
Corima Zeuhl

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

4 stars Wonderful modern Zeuhl with very strong presence of classical, jazz, and folk themes and instrumentation.

1. "Tsukutomi I" (6:44) starts out quite pretty then gets downright kelzmer! Yet, this is good, modern Zeuhl! (9/10) 2. "Tsukutomi II" (10:36) opens with some gentle foundation music supporting a nice soprano sax solo. (9.5/10) 3. "Tsukutomi III" (2:31) the finale of the three-part suite almost sounds like an overture from a late-1960s Broadway rock opera--heavy on the Hammond. (8/10)

4. "Amaterasu I" (3:45) Zeuhl classical piano?!! (9/10) 5. "Amaterasu II" (3:31) slowed down and spacious but just as ominous with violin, saxophone and female voices mirroring each other. (9/10) 6. "Amaterasu III" (4:53) again presents the Klezmer sound masked in JANNICK TOP/UNIVERSAL TOTEM ORCHESTRA- like female and male vocals. (8.5/10) 7. "Amaterasu IV" (2:34) sounds like it could have come straight off of a 1970s JEAN-LUC PONTY album! Great drumming. (8/10) 8. "Amaterasu V" (6:12) very standard Zeuhl in the Magma tradition (8/10) 9. "Amaterasu VI" (8:02) which is then continued in the album and suite's final song. (8/10)

4.5 stars; B+; a near-masterpiece of progressive rock music. It's so difficult for me to not like the intense spiritual feelings evoked by true Zeuhl music like this. This is the best Zeuhl album of 2016 that I have heard.

 Ruins II by RUINS album cover Singles/EPs/Fan Club/Promo, 1987
4.00 | 3 ratings

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Ruins II
Ruins Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars RUINS released their second EP a year after the first and doubled the length by upping the time length to over 20 minutes! They also changed up their sound quite a bit. This begins totally different as it has a mix of melodic bass lines that have a rather subdued effect although the drums are chomping at the bit for a major energy explosive release. After the short opening "Human Being" which belies their true nature, the appropriately titled "Entropy" unleashes the full RUINS effect with Kimoto Kazuyoshi abusing his bass and Tatsuya Yoshida going wild on his retrospective drum kit. Both men scream and holler like animals being violated in test labs and the mix of chaotic zeuhl rhythms and avant-punk chaotic dissonance destroy the musical landscape like a tsunami erasing entire coastal villages.

The main difference between the first EP and RUINS II is that this one has more moments of reflection and contrast in the form of straight forward melodic and rhythmic intros and snippets of sanity between the free-for-all noise rock meets avant-prog and zeuhl rhythms although they are short and to the point but at least recalibrate the listener's perception before taking the chaotic train to nowhere. The slower parts are much more in line with noise rock bands like Sonic Youth or The Jesus Lizard despite the wild and unhinged vocals but when the duo jump into the swirling eddies of brutal avant-prog they create a maelstrom of time sig tornadoes and unrelenting brutality that the listener finds difficult to believe that only two guys are creating. RUINS II is a step up from the debut in that it has more layers of sound, more diverse musical approaches and is slightly more accessible but still would be deemed extreme noise by the uninitiated who happened upon this.

 Ruins by RUINS album cover Singles/EPs/Fan Club/Promo, 1986
3.00 | 1 ratings

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Ruins
Ruins Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
3 stars Although intended to be a power trio the Japanese band RUINS (there's an Australian band of the same name) ended up as consisting of only two members: drummer/vocalist Tatsuya and bassist of which there have been four in the history of the band. On this debut EP that to date has only been released on 7" vinyl finds Kawamoto Hideki handling bass duties. Therefore there is no guitar to be heard but rather a cacophonous noise rock production that utilizes the Magma inspired zeuhl rhythms as inspiration but at this point these guys were into free improvisation with highly distorted bass tones, frenetic brutal prog workouts and screamed, shouted and screeched lyrics that were created in their invented language (the Magma connection runs deep).

On this short but sweet debut release that came out in 1986 they manage to cram six tracks into a 10 minute and 17 second release. The whole thing comes off as an avant-punk type of sound actually as the bass gallops so fast that it sounds like a guitar frenzy at times and some of the rhythms remind me more of a Dead Kennedys on speed than anything Christian Zander pumped out however the Magma influences are quite pronounced in the vocals even if the blatant instrumental aspects hadn't quite conjured up the sophistication to evoke their favorite prog superstars. RUINS is the logical beginning of this band that has always been about speed, distortion and avant-bravado. This EP was never released on CD but is on YouTube and many of the tracks are on the compilation "1986-1992" however "Crisis," "Catastrophe" and "Nocturne," half the EP is missing. This is decent but nothing totally unexpected or overly different than their more easily obtainable 90s releases.

 Tok 1 by ELEPHANT TOK album cover Studio Album, 2016
3.96 | 7 ratings

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Tok 1
Elephant Tok Zeuhl

Review by Mellotron Storm
Prog Reviewer

4 stars The news that ONE SHOT has called it a day was somewhat devastating for me considering I counted them as a top ten band. Daniel Jeand'heur ONE SHOT's incredible drummer has formed this new band and he's called on some musicians he has played with over the years mostly from SNAKE OIL and the PHILIPPE BERECQ GROUP. We get keyboardist Romain Nassini from both of those bands along with sax man Boris Blanchet from SNAKE OIL and trumpet player Aymeric Avice from MAGMA and JEAN LOUIS. Philippe Berecq himself plays sax on one track.

The wild card here and probably the "make or break it" equation in all of this is vocalist Sebastien Onan Morin who goes by the name Onan. He's a rapper and comedian and without question an entertainer extraordinaire. You have to hear this guy sing! On one song he sings in Spanish and it's so funny the way he plays that accent up. He sings French on a couple of tracks and on another he pretty much speaks the lyrics with attitude, almost rapping. Some will love this others will be disappointed. The music by the way is jazzy with lots of horns, fuzzed out bass and incredible drum work. Lots of Fender Rhodes as well and the guitar is a nice touch but not the focus by a long shot. This almost sounds like a cross between SNAKE OIL and ONE SHOT but a lot more fun thanks to the vocalist.

"Mammouth" opens with some busy drum work and fuzzed out bass as the horns come in blasting. The Spanish vocals before 1 1/2 minutes are both expressive and theatrical. So good! I like the instrumental break starting before 1 1/2 minutes with the horns, fuzzed out bass and drums leading the way. The guitar makes some noise as well bending that note over and over. The vocals are back with a minute to go.

"Introduction Ghost" opens with huge bass lines all fuzzed out as the drums then guitar join in reminding me of ONE SHOT. Horns a minute in then the tempo picks up 2 minutes in although I prefer the slower sections that remind me of ONE SHOT. Lots of blasting horns then electric piano before 4 minutes. Ripping horns before 5 minutes then the electric piano takes over as the drums pound. More horns 6 minutes in along with guitar and pounding drums. Angular guitar only ends it.

"Ghost" opens with drums and bass as the horns drop in. It kicks in before a minute with blasting horns, drums and bass as the vocalist spits out the lyrics with attitude. He drops several F bombs along the way. It calms down 2 minutes in as he whispers the words but it kicks back in quickly. Another calm a minute later with whispered words as contrasts continue. Some excellent fuzzed out bass too. Check out the Fender Rhodes after 4 minutes. Another calm with reserved spoken words and dissonant horns. The vocals start to get crazy again before 7 minutes. Another instrumental section before the vocals return after 11 minutes. The sound after 11 1/2 minutes is amazing.

"I Don't Look In My Back" sounds like ONE SHOT at first then the vocals and horns kick in. He's singing in French and it gets a little insane before 2 1/2 minutes. Experimental is the word. Some ridiculous Fender Rhodes work here then it kicks back in later including some guitar that lights it up. "Thrace(Le Vent A Balaye Nos Traces)" is my favourite track on here. Lots of space for the instruments to breathe as we get distorted bass, electric piano and cymbals clashing. Horns join in with some smooth expressions. A change after 4 minutes as it becomes darker with horns only before these massive fuzzed out bass lines kick in. Heavy stuff. Some expressive horns before 6 minutes then it ends like it began. Nice.

I adore the Fender Rhodes and fuzzed out bass and of course the drumming but blasting horns for me are hit and miss, usually the latter. The vocalist spices things up in a major way. Easily 4 stars for this jazzy release and it's Zeuhlish moments.

 Woodmoon (With Rogier Smal) by ONO, RYOKO album cover Studio Album, 2016
3.95 | 3 ratings

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Woodmoon (With Rogier Smal)
Ryoko Ono Zeuhl

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars Groovin'.

A new free jazz moonshine provided by a Japanese saxophonist Ryoko and an Amsterdam-based percussionist Rogier has come to me, happy to say. Saxophone play by Ryoko is quite aggressive, addictive as expected, and drumming or percussion sound by Rogier, whose play I've not listened to so far, is pretty flexible and freaky like a drunken kung-fu fighter. Very curious how the big two would go into battle upon the album field with each other, and finally their musical battle has let me shout "it's crazy great". Cannot realize what would come out at the next moment. Cannot help listening to this whole world with massive palpitation.

Anyway no title cannot be found out upon every single track but who cares? Guess this album might entirely consist of a 47 minute suite divide into 9 movements. Sounds like Ryoko's avantaholic saxophone vibe is a love rollercoaster upon a solid but dissected percussion wave launched by Rogier in every movement. There are three mysteries or marvelous phenomena - firstly Ryoko a ladylike lady plays so explosively (what a mismatched music theory), secondly improvisation-oriented saxophone play and flexible somewhat egoistic drums / percussion machine-gun can get unified with each other like nuclear fusion, and thirdly (just my tuppenny though) there might be kinda methodology under that the duo write a composition.

Apparently it's splendid they would create a variety of sound appearance and colourful orientation through only two instruments. Activity, believability, creativity, diversity, eccentricity ... are their ABCDE in this creation. And what do you say in the track 4 Ryoko? (LOL)

 200 000 by ZWOYLD album cover Studio Album, 2014
4.70 | 8 ratings

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200 000
Zwoyld Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars ZWOYLD is yet another strange zeuhl band that springs from France and contains all the usual Magma influences but branches out in many ways to include not only the expected jazz-rock side of things (however no brass on board) but also has a very spacey Rock In Opposition approach along with a healthy dose of avant-garde. The band was formed by Gilbert Brown who oversees the project but doesn't actually play any of the instruments. The actual band consists of five members who contribute the following instruments: drums, bass, guitar, mellotron, synthesizers, flute, sanza and jew's harp. As with much zeuhl this one is pretty much instrumental with the only vocals being delivered in chants which basically add another instrument without any linguistic connotations that i can understand anyways. The track titles seem to be in some invented language and the presentation brings to mind some ancient builder race of sort that visited and left the planet long ago.

The music clearly falls into the zeuhl camp with its pummeling hypnotic bass grooves and rhythmic developments but there is so much more going on here that separates the music from any Magma clone accusations for sure. Firstly there is a lot of attention paid to guitar here. There are not only rhythmic power chord sequences but lots of angular guitar riffs that bring an RIO / Avant Prog vibe to the forefront on many occasions. However it never really gets too weird. It flirts with the bizarre but always keeps the chunky bass lines accessible and the guitars even delve at times into funk territory. The tracks all have distinct personalities and the album flows very nicely with totally different arrangements taking place over the avant-prog meets zeuhl rhythms. There are also various world music influences such as Arabic, Indian and Klezmer.

Tracks like "Chań" really branch out into strange territories as the composition is quite complex with structured time sig changes that take a rather catchy melody and adds all kinds of freaky progressive touches. The track has the unique quality of making me feel like a zeuhl rhythm has been accompanied by a 60s psychedelic rock type of band. It's the kind of stuff that i always thought SHOULD have happened in the 60s but never really did. This music somehow captures an "i wish that woulda happened" vibe for me. It really works well too. Nothing feels forced in the least bit and progressive touches such as bizarre time sig freak outs structured around the choppy zeuhl rhythms somehow just kind of flow without the slightest of spoiling features. While mostly energetic "Chań" slows down half way through and creates a very psychedelic rock experience but picks up steam again. The album is mostly energetic but slow passages punctuate the frenetic energy as to create an always welcome diversity in mood.

This one is a welcome surprise. The music is as surreal as the album cover artwork but still entirely accessible upon first listen. In effect, the perfect balance between the known and unknown where alienation isn't even remotely possible but surprising combinations of sounds add a layer of excitement. What i'm finding is that the band really know how to capture that innovative zeitgeist of the early 70s yet not ripping any other artist off. Yes, the influences are tucked beneath the surface and all but is more than obfuscated by layers of creativity oozing out of every irregular jagged bass led sequence. Ever since Magma introduced the zeuhl style of music to the world decades ago, it has remained a viable sub genre that allows all types of complexities to be kept from going too far astray with the accessible rhythms at play. ZWOYLD continues with that tradition but manages to take the jazz- fusion and avant-prog levels a few notches higher with tons of psychedelic trippiness to put hardcore Grateful Dead fans into a coma! This is an instantly addictive album that has managed to blow me away! Great job, guys :)

 Aedividea by VAK album cover Studio Album, 2015
4.00 | 25 ratings

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Aedividea
Vak Zeuhl

Review by Warthur
Prog Reviewer

4 stars The album-length take on Aedividea by Vak consists of material orignally released on two separate EPs - a self-titled release from 2012 and the original "Aedividea" EP. Completists will be bugged by the absence of Reeht, from the Vak EP, an 8 minute track which there would have certainly been room for here, but as it stands I think the running time of this release is just about perfect to satisfy me without making my attention wander, so perhaps leaving it off was the right call. Musically speaking, Vak play zeuhl in a style heavily influenced by Eskaton (and Magma, of course, but everyone who does zeuhl is influenced by Magma) but with a markedly updated sound, especially when it comes to the keyboards.
 Mais On Ne Peut Pas Rŕver Tout Le Temps by THIBAULT, LAURENT album cover Studio Album, 1979
4.44 | 54 ratings

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Mais On Ne Peut Pas Rŕver Tout Le Temps
Laurent Thibault Zeuhl

Review by Warthur
Prog Reviewer

4 stars Evidence that zeuhl doesn't necessarily have to be sinister martial ranting in a nonsense language, Laurent Thibault's only solo album focuses on the jazzier side of zeuhl as expressed on Magma's debut - perhaps appropriately enough, considering that Thibault was Magma's first bassist and left them before their full on "Klingon Opera" style was fully in place. Still, his bass work here demonstrates just how important a good bass line is to the zeuhl style, whilst offering a more gentle take on the whole thing - a bit like a lovechild between Christian Vander and Mike Oldfield. Though not typical of the genre, it's still worth a look.
 Mekan´k Destrukt´w Kommand÷h by MAGMA album cover Studio Album, 1973
4.31 | 794 ratings

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Mekan´k Destrukt´w Kommand÷h
Magma Zeuhl

Review by marcobrusa

3 stars Polyrythm works along big instrumentation. The overall effect is impressive, but i do not listen to this unless i want to hear a march. Zeuhl is a hell of a sub-genre. In this case, the inventor is not the most likeable character for me. I get the trance every now and then but the music is too marching. The man's falsetto is a little annoying, the rest of the instruments are ok. Drummer and leader is a genius because he created something different. The music is very difficult to appreciate. I can listen to a couple songs but then i get bored. The changes are not different enough maybe... so 3 stars. It's a good album but not for any prog collection.
 Magma [Aka: Koba´a] by MAGMA album cover Studio Album, 1970
4.05 | 372 ratings

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Magma [Aka: Koba´a]
Magma Zeuhl

Review by ALotOfBottle
Prog Reviewer

4 stars "I've had dreams. Dreams about John Coltrane. In them I'm trying to get somewhere, but it's far, far away. I'm searching. I keep trying to get to the concert, the Coltrane Concert. But by the time I arrive, it's over." -Christian Vander, describing his recurring dreams about John Coltrane, 2015 [The Wire Issue 381]

Christian Vander was born in 1948 near Paris. From a very early age, he knew he was different from his peers. As he confesses in one of the interviews, he never wore stylish clothes, nor listened to popular music in his teenage years. His bohemian mother introduced him to classical music and jazz. Young Vander even had the privilege of meeting Chet Baker and future Coltrane drummer Elvin Jones. However, no other musician had a bigger impact on him than Coltrane. With his obsession growing, the young man started regarding the musician almost as a god, a prophet or his father, more so, because Vander never met his biological parent. When the jazzman passed away in 1967, out of depression, Vander went on tour to Italy. "I arrived in Milan and I did everything I could to destroy myself. Took stuff, drank... And I was like that for nearly two years. But one morning in Turin I woke up and saw the town completely illuminated, like I'd never seen before. And I said to myself: John Coltrane didn't allow himself to die like this." He left, returned to Paris, and became more involved with musical groups, playing around local casinos. Together with Laurent Thibault, the future Magma producer, they invented the whole mythology of Koba´a and composed the opening track of Magma's first, eponymous (however, also often called Koba´a), double-LP album, which was released under the Phillips label 1970.

Magma tells a story of the Earth's enlightened, intellectual elite deciding to escape their planet in search of a new world to create a better civilization, far from their home, destroyed by wars and politics. They finally settle on the planet Koba´a.

The album opens with a Cuban-esque groove accompanied by throbbing bass, tight rhythm guitar, passionate drumming, and a jazzy horn section. When Klaus Basquiz's vocals take the lead, presenting a story in an unidentified, Gothic-sounding language, some listeners might picture a more elaborate version of Blood, Sweat and Tears or Chicago. However, at one point, after a short, baffling interlude, owing a great deal to European classical music traditions as well as spiritual, almost voodoo culture-like choir singing, the track drops into a rapid, heavy free-jazz section recalling musicians such as Ornette Coleman, Albert Ayler, and even Peter Br÷tzmann. Then comes a contrasted, quieter, piano part, leading into a jazzy climax of this extremely powerful and effective opener - "Koba´a.""A´na" follows with a pleasant, laidback avant-jazz theme, including a double saxophone duel. The vocals posses a similar spiritual quality, rooted in New Orleans' soul music traditions, whose origins can be traced back to Africa. Suddenly, the track changes its path, expediting its pace and becoming far more sophisticated. "Malaria" continues the overall atmosphere with a somewhat unsettling intro, which dissolves into a more, catchy, Latin avant-rock motif, utilizing a dry overdriven guitar and, more prominently, a flute. Side two of the first LP is opened with a mysterious melody on interplaying flutes. The same melody is picked up by Claude Engel's guitar together with drums, piano, and a horn section accompanying. After numerous harmonic and dynamic variations on the theme, comes a quiet, Kind Of Blue-like cool-jazz part, hesitantly leading to the reprise of the introduction with a marching rhythm applied. This suddenly resolves into "Sckxyss", which takes no time to warm-up. The magic fusion of sexy jazz rhythms, Stravinsky-like neo-classical music, rocky guitar, and Magma's own avant-garde elements is a truly intoxicating one! "AuraŰ" follows a pattern similar to the previous tracks, stating a very different statement using a similar vocabulary. Here, Francois Cahen's flawless piano work in conjunction with one of the flutes plays a crucial role in the dark, ominous feel. The atmosphere, still unsettled, grows in power with other instruments starting to creep in. The tension is dissolved on a rather cheerful line, similar to Easter European music in its broken, uneven rhythms. Then, the song moves into jazzier scenery, without losing its quirky integrity. Once again, following the footsteps and describing the nature of each passage of this piece would create a biblical-length epic. The piece is closed in an aggressive, yet controlled manner.

Disc two starts as if presenting a new volume of the story, with a solo flute melody, picturing a lonely shepherd in the mountains sitting on a rock and entertaining himself with the instrument. Taking Magma's dynamic, expressive style into consideration, the calm atmosphere continues for a surprisingly long time, even when other instruments and vocals join in. "Thaud Za´a" finally becomes very Magma-like with a slow, disciplined marching rhythm, which after many repetitions, and a few beat variations, leads to the lone flute passage. "NaŘ Ektila" opens with something very untypical of Magma - a folk acoustic guitar passage accompanied by a clarinet. The addition of vocals and bass don't make things more punchy, rather the opposite. Another acoustic, feminine part comes in. The remaining composition is built from there, featuring a great, dry rock guitar riff, powering the Santana-like Latin jazz-rock machine. The appearance of a percussion solo leads to loud free-form mayhem. As if from the ashes, comes a very Coltrane-like part with Franšois Cahen's amazing piano solo. With reappearances of the acoustic motif, the piece ends in a very classy, stylish way. "St÷ah" starts with a high-pitched, screaming monolog in Koba´an. The repetitive piano sequence, bringing a neo-classical chamber style of Hindemith and Stravinsky to mind, is presented with Klaus Basquiz's vocals. Later on in the piece, we get a bit of a teaser of the style Magma would employ on Mekan´k Destrukt´ẁ Kommand÷h - jazzy piano passages with choir work very much reminiscent of Carl Orff. "Műh" opens with a dreamy, celestial piano passage and for the first few minutes follows a similar aura, until the very cheerful Cuban jazz-like melody comes in, broken by a short neo-classical interlude and a lengthy, varied instrumental workout. As I've said a few times already, describing the exact direction of the music on some of the tracks would create a pointlessly long and boring review. The whole album closes with an odd recital in Koba´an.

Magma's debut is characterized, above all, by incredible eclecticism, variation, and diversity, sophisticated compositions, magnificent musicianship, and capability of making all the influences, ranging from Stravinsky's dark, neo-classical works to free-jazz a la Sun Ra to Easter European folk to New Orleans soul music, work together and create a unique, one of a kind fruit. Furthermore, Magma or Koba´a gave birth to a whole new sub-genre of progressive music known as "zeuhl." Atmospheric, vigorous, creative, unorthodox, innovative - these are just a few of many adjectives perfectly describing this music. Essential listening!

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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
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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