ËMËHNTËHTT-RÉ

Some people consider this arguably THE best Magma's album boring and not only repetitive, but also Vander's repetition of himself. My best guess is that the people somehow get tired of Magma's unique type of music. The pre-penultimate album was Merci, a total excess for Magma universe, the penultimate album was MDK-without-brass-like K.A, and the newest album is... UduWudu/Kohntarkosz-like(?) Ëmëhntëhtt-Ré. For the self-repetition matter, I'd say it's not a monumentally new album for Magma, it's an eclectic one, extremely satisfying blend of Udu Wudu's and Kohntarkosz's spirits, plus previously unreleased on studio albums unparalleled material, even for Magma's world. Too much self-repetition, isn't it? Magma-fanatic*-like behavior aside, seriously, is this only the best album of the year? This is one of three best albums that came out in 21th Century, if not the best. Also, this is third album in my Magma list after MDK and Kohntarkosz, instead of a little bit overrated K.A, which I could say somehow exactly lacked substance, exactly for the repetition matter.

* - There is a dark-green shirt with the album's cover on it, on sale on SeventhRecords site. Can't say I wouldn't wear it, if someone gifted me one, no one in my university knows about Magma anyway (except a couple of friends whom I try to explain all the greatness of prog, RIO, avant-garde, experimental jazz and Zeuhl, unsuccessfully yet).

Why is this album exactly masterpiece and deserves a higher rating in Zeuhl category than, say, Eros? Because exactly this album, being truly unique and original as it was supposed to be, manages to offer almost everything I expect and want from true music. Subtle and weird fast changing chord progressions (part 1 1/2), 'touching' yet incredibly sincere pathos (part 1 2/2), epic brightness, yet fascinating and relaxing beauty (part2 2/3, part 4), adventurous, 'building up', nearly challenging at times, weird 'trips' away from this earth (part2 3/3, part 3) and finally dissonant avant-garde (the end). And literally everything is done over-the-top, regarding whether the quality of sound, outstanding arrangements/musicianship/vocals, overall very impressive effect or actual compositions. First half would be a good introduction to the band, but the rest still makes the album not an easy listening and an acquired taste.

Now, for the matter of the repeated old songs and the Kohntarkosz-like chant of part3. The fact that this album sounds like or seems a 'typical' Magma album does not imply that Magma repeats itself because, while the album combines some of the features of Udu Wudu and Kohntarkosz, it does bring some completely new musical ideas and mainly overall impression of entirely new adventure. Wurdah Itah used some themes of MDK, Theusz Hamtaahk used first part of Wurdah Itah, Top's Infernal Machina used a riff from De Futura, and what? I don't care if the music is as BRILLIANT as it is on Ëmëhntëhtt-Ré. If some uses of past themes seem self-repetition rather than 'conceptual' deja-vu and new excellent versions of amazing songs (whether studio or live-only) after all, then it's a 'barrier' to 'get' the music and my best suggestion is to be open-minded as much as it's possible. Can't wait for studio releases of Theusz Hamtaahk and, say, Zess.

Let's get through some of the great moments of this incredible album.

Ëmëhntëhtt-Ré I. First half starts by the previously unrecorded composition which is one of the most fantastic masterpieces by the band. The fast chord progression sung by amazing chorus is nearly mind-blowing. This part claims to be my personal favorite on the whole album. Second part... it is as much masterpiece as the previous part. It's re-recorded and reinterpreted Rinde, the gem from Attahk, probably the saddest and yet one of the most beautiful songs by the band. Sung by Stella this time, instead of the Vander's falsetto. The correct answer to the question "who is your favorite female singer in prog?" would be Stella Vander. The way she (and, well, Isabelle at the end) sings makes this version of Rinde an epitome of musical sincerity. FWIW, reminds me even of Rock Bottom, just because of the feeling it causes in me.

Ëmëhntëhtt-Ré II. Part one. This is material from middle 70's as well, and this is a very satisfying performance. And new male singer Antonio Paganotti does sound like a decent replacement for Klaus Blasquiz. The part two is first studio release of Hhai. The bass line feels energetic, but somehow it's a very easy and 'relaxing' listening. The main point is 'pretentious' Vander's vocal sounding like he's the only person who knows what is truth, and it's very contagious. Actually, I'd consider Hhai one of the simplest and 'poppiest' songs by the band (Merci aside), I can even imagine hearing it on radio, but well, Pop-Zeuhl is the only 'sub-genre' of pop I like, and Hhai is one of the best pop songs I've ever heard then. Part three is reinterpreted 'Zombies' from Udu Wudu. Although it's not as surpassing its predecessor as Rinde is, the new version is still better, probably because it's played faster.

Ëmëhntëhtt-Ré III Since you just got done listening to the new 'Zombies', you realize that this part stylistically is still closer to Udu Wudu, although the repetitive chanting reminds of Kohntarkosz. This part (and the rest) is completely new material written in 2009 and I consider it a creative impulse. This is by far hardest to get and most complex part on the album and I had to relisten to it like 5-7 times and that's why I now understand that Ëmëhntëhtt-Ré III actually competes with Ëmëhntëhtt-Ré I, although exists in completely different dimension and has absolutely different feeling. Repetitive, yes, and Magma's repetition is something and everyone knows it. Also, while it can give an overal impression of being 'boring' and repetitive, there're actually three different parts and instead of plain repetition, each part gets replaced by each other time by time, thus musically this part isn't repetitive at all. The greatest point is not only offset of the chant lines, but subtle interplay between female chant line, male vocal line and the rhythm, and each thing sounds independently on each other, which creates an amazing chaotic mood. Also, the more you've passed, the less repetitive it gets, that brings an idea of an exponential building-up. The unique moments like at the final part when music stops to be repetitive at all are enough to outweigh the ambiguous repetitions and make album brilliant.

Ëmëhntëhtt-Ré IV. This is more of 'conceptual pseudo-ending' than the most important part on the album, still bright and beautiful relaxation for your soul after the nightmare.

Funëhrarïum Kanht. A possible flaw or unnecessary 'bonus' track which really fails to be 'bonus'? A dissonant chord progression which fits my taste perfectly. However, it's you choice whether 'good' or 'evil' wins, you always can stop album at this moment. Actually, Magma played this 'funeral' part not on every live performance of the album.

Sêhë. Just like the album began. So listen to it again?

Vander, the crazy genius who created a new sub-genre, presented us a new amazing unforgettable adventure to another world once again. And the truth is that there's no even any doubt about five star rating.

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