ÜDÜ ẀÜDÜ

Üdü Ẁüdü marks a shift in Magma's sound. It's more accessible, more synth-heavy, and features prominent jazz and funk inclusions. Much of this can be attributed to the increased input from bassist Jannick Top in the songwriting.

Üdü Ẁüdü's title track kicks things off on a peppy note. There's a certain tropical characteristic to this song, and it's almost like Magma is playing calypso. There's still that signature ethereal quality to it, and Top's bass work is especially impressive.

"Weidorje" follows and is more typical of Magma's style. The focus is on a hypnotic groove, and the bass has a warm, fuzzy growl to it. This song features Bernard Paganotti on bass and co-lead vocals. Of note, he and Magma keyboardist Patrick Gauthier would leave the band to form their own zeuhl act, also called Weidorje, after this album. Weidorje's sole album, a self-titled release in 1978, is fantastic.

Squeaky synths open up "Tröller Tanz (Troll's Dance)" before moving into a passage that almost sounds like a Jethro Tull song, owing to the flute-like lead synthesizer. The piercing, panicky synths come back briefly, after which the song returns to Magma's more typical fare. The pulsing throb of the bass and a reasonable runtime help keep this song surprisingly accessible.

"Soleil d'Ork (Ork's Sun)" is the first of two compositions from bassist Jannick Top on Üdü Ẁüdü. Funk elements are immediately noticeable in the wah-wahed guitar and popped bass. This quality is counterbalanced by ritualistic chanting and chimes to give the impression of some strange alien rite. Something similar can be heard in the shorter songs of the band Om, particularly "Cremation Ghat I".

Next comes "Zombies (Ghost Dance)", a staple of Magma's live shows. The bass groove is once again the focus of the song, with drum, vocal, and synth embellishments added on top to build tension.

Side two of Üdü Ẁüdü is wholly taken up by the massive "De Futura" (originally titled "De Futura Hiroshima"). This is the other Jannick Top composition on the album, and you can tell that a bassist wrote this song.

After opening with a stumbling, downward guitar line and electric piano accents, the song sets off on an indefatigable march. The rhythm section of Vander and Top push forward insistently, bringing the chanted vocals and eerie synth along with them.

Top's bass snarls and commands the listener's attention as a soundscape of war and despair swirls incessantly. Much of the last ten minutes of this song is a chance for Top to really flex his skills as a bassist. Paired with a drummer as skilled as Christian Vander, this rhythm section can play lead like few others. There's a sense of anxiety in the extended jam, and synths and occasional vocals are deployed smartly.

Review originally posted here: theeliteextremophile.com/2022/04/18/deep-dive-magma/