MEKANÏK KOMMANDÖH

This is one of the alternate versions of Christian Vander's most notorious/best loved work, Mekanik Destruktiw Kommandoh. The official 1973 release is, quite rightly, regarded as the high point of Zeuhl music, but it did not fully do justice to Christian Vander's original vision. The bass and drums are rather low in the mix, and the brass section tends to dominate the arrangements. Later live versions emphasised the melodic side of the music, with the massed vocals (apparently inspired by Carl Orff's Carmina Burana) more to the fore.

This take ditches the brass section, pushes the massed choirs to the front and Christian Vander's nanosecond precision drumming is crystal clear, as is the bass playing, although sadly not by the scarily talented Jannik Top. There are other significant differences from the released version; there is no guitarist on these sessions, and in places the absence of Claude Olmos's marvellously fluid lead guitar is really noticeable. There is also a different introduction, featuring Christian Vander delivering a blood curdling speech in Kobaian over some extremely dissonant piano, before the familiar intro kicks in and he continues telling us that we're all unworthy beings doomed to be destroyed. Once we're past the intro, there are few deviations from the score (assuming you're already familiar with the piece) until the slightly extended closing section, featuring some more unearthly vocal stylings. The main difference lies in the arrangements, which emphasise the music's melodic strengths as opposed to the rhythmic power of the 1973 release. Some releases of this also include the 'Instrumental' version, basically the same piece with most of the vocal tracks removed.

This is a fascinating version of the most astonishing extended prog rock composition of the 1970s, and is essential listening for anyone who loves Zeuhl music. Newcomers are probably better starting with the original official version, but this stands up as a great album in its own right.

After a pair of wild and unhinged jazz-rock fusion albums that introduced the world to the strange world of the fictitious world of Kobaia invented by the fertile mind of founder and drumming leader Christian Vander, he and his band MAGMA streamlined their sound significantly. Although their self-invented zeuhl sound had emerged already on the first album, it was a subordinate element surrounded by a smorgasbord of a million others. On their third album "Mëkanïk Dëstruktïẁ Kömmandöh" the band created their first album that totally fit in with their new found focused sound and in the process created their most acclaimed record even ranking as 33rd greatest French rock album of all time according to Rolling Stone. Despite those impressive creds, the album didn't start out so perfect and the band originally turned in a more stripped down version in early 1973 but was refused by the record company and who sent them back to the drawing board which would end up finally being released in December of the same year.

MEKANÏK KOMMANDÖH is that stripped down first version of "Mëkanïk Dëstruktïẁ Kömmandöh" and was released in 1989 at the tail end of a decade of laying low when the progressive rock world trickled down to a mere pittance of its former 70s heyday. The similarities between the two releases is obvious but the differences are staggering in their impact. While the second rendition contained a whopping 13 members which included brass, flute, bass clarinet and seven vocal parts, the first version MEKANÏK KOMMANDÖH included a modest seven members with only three of them uttering vocalizations of any sort. One of the greatest differences in this version is the introduction where Christian Vander offers some sort of Kobaian speech that sounds like some sort of declaration of war in their invented language which was nixed from the more famous "Mëkanïk Dëstruktïẁ Kömmandöh."

Despite being a good decision to release it in a more perfect form, MEKANÏK KOMMANDÖH gives a clue to the intent of the music somewhat. This album in its stripped down form really sounds like some sort of Teutonic march across the lands on their way to plunder, pillage and lay waste to any village that stands in its way. This is more pronounced as Vander's virtuosic drum antics are more in the forefront minus the inclusion of the smoothing out effect of the horn sections. While more dramatic in nature, this version also has the tendency to become a bit monotonous as well as somewhere around twenty minutes into the thunderous march the vocal tradeoffs tend to seem a little silly as the call-and-response effect carry on and on and on a wee bit too long and with minimal instrumental distractions to be found makes it all the more prominent. While the instruments are scarce by comparison, Zander rocks the house as expected but also of high caliber are the combo effect of bassist Jean Pierre Lambert and Jean Luc Manderlier's phenomenal piano and organ segments.

MEKANÏK KOMMANDÖH can only be taken as supplemental MAGMA material for as good as it is, it pales in comparison to the more MAGMA-nanimous "Mëkanïk Dëstruktïẁ Kömmandöh." I feel the original record company made the right decision to put these guys back to work as this version in its proto-scaffolding form sounds way too much like the Karl Orff cantina "Carmina Burana" which has always provided a wealth of influence in the overall Magma sound. Without all those jazzy brassy instruments adding extra layers of atmosphere and counter-bombast, the overall feel comes off as a bona fide Orff tribute album albeit more in a rock context. While personally these kinds of releases from the vaults type of albums don't usually do it for me, this one is an interesting way to hear how the ideas were layered over time.

I came across this one in a very strange way. This was my first MAGMA album which i mistook for "Mëkanïk Dëstruktïẁ Kömmandöh." My initial reaction was a scratching of the head because i couldn't figure out why it was deemed in such high regard. Once i figured out that this was nothing more than a rough draft / first edition and finally heard the final cut, it all made sense. I avoided this one for a while simply because of that bad taste involved but now that i'm checking it out in a fresh clean slate, i have to admit that it's actually a pretty good album in its own right, it's just not on par with the much improved second rendition. Definitely a must for MAGMA fans but certainly not the place to begin exploration of their discography and eccentric career. Just be careful and don't assume that everything with the two invented words MEKANÏK KOMMANDÖH in the title are the same. Even the bonus track of the same name on newer editions of "Mëkanïk Dëstruktïẁ Kömmandöh" is a different version. Now how's that for confusing? Ugh.

3.5 rounded down

Magma lay dormant for a few years after their hit and miss albums of the early 80s before popping back up with a version of the classic that put them on the map.

This isn't the "proper" Mekanïk Destruktiw Kommandöh, nor is it the same as the live versions, nor is it the bonus track found on some MDK re-releases. It is however the original recording, with a smaller ensemble, that was rejected by the record company at the time in favour of the grander version split into smaller tracks, finally released 16 years later. Magma being confusing as always.

It's therefore stripped back a bit, with the drumming even more to the fore, and missing some key personnel, notably Teddy Lasry's brass instruments, Jannick Top on bass and Claude Olmos on guitar. It does feature though a chilling introductory speech from Christian Vander, in Kobaian.

Actually can't decide whether or not I prefer this version to the more bombastic MDK. It would probably be blasphemous.