CHRISTIAN VANDER: TRISTAN ET ISEULT [AKA: ẀURDAH ÏTAH] (OST)

If a fan, then you must have been already looking to see that film and find out if Wurdah Ïtah conforms to the greatest difference between a film and its soundtrack ever. This album, unfortunately less known Magma's masterpiece, perhaps stands out as their most subtle and one of the most accomplished works. It was labeled as Vander's solo album and the probable reason is only four members being involved in the recording process, then I suppose that half of Magma's discography are Vander's solo albums as well. Wurdah Ïtah means "dead earth", but it's not the only reason why this album sounds like MDK's conceptual continuation, despite the music sounding quite different (note, we had to find out that Wurdah Itah is actually supposed to be predecessor of MDK, in 2000 when Theusz Hamtaahk Trilogie came out). It really impresses how musically different from each other every their album is, and yet manages to remain well recognizable as Magma album and always includes some of the common characteristic features of their sound, besides of the operatic/weird vocals. Wurdah Ïtah is either 'non-repetitive' MDK with emphasized piano in place of brass section, or some incredible blend of Rïah Sahïltaahk (without sax) and MDK. On this album, Vander stands out as an outstanding and very original composer, and also an excellent pianist (rather than great drummer this time). Original use of bass and thought-out percussion as usual elements of their music are also presented. I don't know if it was originally supposed to be a 'soundtrack', but the music flows as one composition, however, unlike single* MDK, Wurdah Ïtah has two interruptions. As for the musical content, this is probably least repetitive Magma's composition since Rïah Sahïltaahk, and probably most 'subtle' one, it doesn't have that immediate knockdown impact of brainwashing MDK, but this is an epitome of musical subtlety and requires both of attention and being open-minded (and using your brains a bit). And... does it need to be said that comparisons with their other albums was all I had to do? Listening to Magma, word 'unique' takes on a new meaning.

* - MDK was single because it was supposed to be, side B opened just exactly like side A closed. Wurdah Ïtah isn't. It has two interruptions without any transitions.

Malawëlëkaahm. Complex musical stucture, complex time signatures, absolutely unpredictable melody and harmonies. Edgy intro is followed by a chanting melody which I consider album's analog of "ziss ünt et- nah", although it's male chanting and more catchy than hypnotic this time. Unconventional musical structure and absolutely bizarre use of bass and piano make this part the most 'subtle' and one of the best parts of the album.

Bradïa Da Zïmehn Iëgah. Full of weird tension, mostly caused by the bass line and everything else that plays the same melody. Ends in almost avant-garde chaos to get suddenly interrupted by the next part.

Manëh Fur Da Zëss. The way how the previous part got interrupted by this bare piano with bass sound and some laugh in the background is... impressive. It needs to be said that first three parts were the climax of the album, and the rest of the album will never get the same level of intension and originality. Consider that the first parts were about Earth's death and the rest is about Kobaïan life. Further parts Fur Dihhël Kobaïa, Blüm Tendiwa and Wohldünt Maem Dëwëlëss progress in relatively peaceful 'operatic' manner, and are not so unpredictable, especially 'repetitive' Blüm Tendiwa with that characteristic building-up. Blüm Tendiwa fades out at the end, so it's another interruption besides of the one which is caused by the LP format.

Wainsaht !!!'s intro is another 'weird' surprise of the album with some 'nasal' sounding, Wlasïk Steuhn Kobaïa ends with a fantastic piano solo, Sëhnntëht Dros Wurdah Süms, besides of the chant reminding of MDK at times, continues that 'catchy' line from the opener, C'est La Vie Qui Les A Menés Là ! comes closer to the tension of the first half of Side A and ends with another amazing piano solo (if I'm going to learn how to play Wurdah Itah, I'll fail because of this solo), Ëk Sün Da Zëss slowly leads to De Zeuhl Ündazïr, motherland... basically, it uses some themes from MDK, moreover, a theme which will be used in K.A. Let's notice that, at the very end, piano sounded menacingly again...like a reminder of the first parts.

If you think that MDK would be better if it was less repetitive, with less relentless and aggressive vocals and less intense orchestration, give this a try. This is Zeuhl at its most subtle side, and neither too 'celestial', nor too dark (merged but different parts, balancing each other, create neutral mood eventually)(still, it sounds like Kobaïan people celebrate "Wurdah Ïtah" rather than arrange a mourning). I wouldn't recommend this album to Magma newcomers, because it's a complex album by any means, but it still remains one of Magma's grandest achievements and gets deserved masterpiece status.

EDIT: Just dropped a star. It's still a terrific album. First tracks are five stars material, but I honestly don't think the rest of the album is on the same level. 4.5 stars will have to go.

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