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Hortz Fur Dehn Stekehn West. Ima Suri Dondai. Kobaia Is De Hundin. Da Zeuhl Wortz Mekanik. Nebehr Gudahtt. Friday 23 August Saturday 24 August Sunday 25 August Monday 26 August Tuesday 27 August Wednesday 28 August Thursday 29 August Friday 30 August Saturday 31 August Sunday 1 September Monday 2 September Tuesday 3 September Wednesday 4 September Thursday 5 September Friday 6 September Saturday 7 September Sunday 8 September Monday 9 September Tuesday 10 September Wednesday 11 September Thursday 12 September Friday 13 September Saturday 14 September Sunday 15 September Monday 16 September Tuesday 17 September Wednesday 18 September Thursday 19 September Friday 20 September Saturday 21 September Sunday 22 September Monday 23 September Tuesday 24 September Wednesday 25 September Thursday 26 September Friday 27 September Monday 2 September Tuesday 3 September Wednesday 4 September Thursday 5 September Friday 6 September Saturday 7 September Sunday 8 September Monday 9 September Tuesday 10 September Wednesday 11 September Thursday 12 September Friday 13 September Saturday 14 September Sunday 15 September Monday 16 September Tuesday 17 September Wednesday 18 September Thursday 19 September Friday 20 September Saturday 21 September Sunday 22 September Monday 23 September Tuesday 24 September Wednesday 25 September Thursday 26 September Friday 27 September Saturday 28 September Sunday 29 September Monday 30 September Tuesday 1 October Wednesday 2 October Thursday 3 October Friday 4 October Saturday 5 October Sunday 6 October Monday 7 October This album whilst consisting of seven tracks really does flow as a whole unit.
The vocal harmonisations and choral tapestries abound and play a decisive role and key component to the overall Zeuhl sound. The flutes and guitars are simply incredible, Claude Olmos is an excellent guitarist. The layers of sound are such that it will take many more months to fully digest and appreciate, not to mention Christian Vander's drum and percussion work.
Another observation is the similarities to another French band, Clearlight. No surprise there but there is something Canterbury about Magma too! This was and yet if I listen to Mike Oldfield's Incantations from , maybe, just maybe he was influenced by these extraordinary pioneers?
Four solid stars. Music is complex, well made and really sounds inventive and interesting. Like you that sound or not - it's more question of personal taste. But it happened - first Magma's album of real zeuhl was released.
It is so much written about this album I can's see no reason to go on details. Totally agree by my head that this album is one between best Magma's zeuhl releases ever, I by my heart just prefer two earlier their albums. Possibly the reason is I have strong allergy to pathetic totalitarism. Speaking about pure zeuhl, I obviously prefer ecstatic and raw Japanese zeuhl to refined Teutonic Magmian Still really very strong album though.
Why am I writing so? Because this "first act" of Zehul music is Wagnerian in the maestosity of the operistic parts directed by Stella Vander, and in Kobaia I see the realization of something between Nietszche and the Aquarians. A new state of mind, an utopic world for a new "supermen" race that's to be intended as a natural evolution of the human race.
So Kobaia is closer to SciFi than to history. It's the same kind of utopia on which L. Hubbard based his artificial religious sect, initially helped by the Slan's father A. Van Vogt. Back to music, this album has often been defined as "chellenging". I don't think so. Of course it's not light or easy, but it's first of all good music. It has jazz and classical. It has guitar and bass. It has everything one can look for in a prog album.
It's not easy but it's never boring or challenging. You only need to be in the right state of mind for it, as for a lot of non-easy listening music. MDK was often played entirely in "one shot". As many Magma works, it's not a collection of songs but a symphony with several movements. So forget all the discussions about Vander's political side and enjoy a masterpiece of progressive music. For newbies, I suggest starting with the first two jazz-rock oriented albums before attempting this one.
It will help in getting familiar with those sounds and this kind of music. This is THE masterpiece of Zeuhl, and if zeuhl is prog it can only be rated the maximum.
Not suggested to fans of neo-prog and melodic stuff. Mekanik Destruktiw Kommandoh is one of the most dramatic and occasionally goofy albums ever, with its strong Gesamtkunstwerk-type sound - operatic, extreme, obnoxious, oppressive, powerful, and surprisingly heavy at times.
For the time that this was released, I'd say this album was most likely the most progressive in its time, because I've not heard any one other band that sounded like this before Mekanik was released. A main part of this album is the plot line, which is about aliens coming to earth and tanks and everyone hates each other or whatever, I don't care - the music is good though. The musicianship here is strong, precise, and repetitive like you wouldn't believe, but it seems to work quite nicely.
The sound of the album as a whole seems to suggest a type of revolution or some German-speaking dysphasia suffers. I think one of the main elements of this album that makes it stand out from the other super-dramatic Magma albums is a sense of earned energeticism, rather than being slow and boring and weird and nonsense all at the same time, which is an overwhelming concatenation of descriptors.
Seriously though, this is the definitive zeuhl album. I recommend this highly to anyone looking for super-eccentric progressive rock of the weirdest variety. So you wandered into our not so humble little community after enjoying some 70's synth, chuckling at the guy with the reverse mohawk, or via the modern door of the nerdy English guy and the Swedish growler.
You explored the big names, sampled some Camel, braved some extreme 70's fashion while listening to fusion, and finally learned about Canterbury and Krautrock. Now, my acolyte, you are ready for the highest secret of the genre. The most simultaneously pretentious, gaudy, and brilliantly exploratory of all prog. My first album, appropriately was the first fully realized product of the band's created subgenre of Zeuhl.
The black album with the gold bug thingy. Though MDK may not be the best album Magma made, it's close, and it's certainly the most emphatic and prototypical. The Orff sound is obvious, the Coltrane less so. MDK is the most Orff like and the least fusion-y, and also the most frantic offering I've heard from a band that more than earns it's reputation as one of the craziest bands of all time. The vocals here are all over the place but make sense in context. While there are screams, yodels, trills, demon choruses, and of course the made-up language, within the musical scene it works.
The songs tend to hang on a tonality or chord and slowly build in intensity before switching to a new section. Some of these sections are quite long, and it feels as if the band has been anticipating a climax for an eternity.
The payoffs can be frenetic, monstrous drops in energy, or sometimes more repetition. In fact my biggest problem with the Zeuhl sound in general is that a broken record feel occasionally comes through. One must listen to the multiple layers intertwining and exploring in order for the music to maintain its interest. There is an overall arc of movement and mood that finishes quite satisfactorily with the female chorus that sounds vaguely like "soon, oh yes so very soon.
But once you do, this really is a unique style that for me can be quite rewarding. While E-re may be a better album overall, MDK has a historic edge as being the first true incarnation of this visionary sound.
It also maintains a youthful energy that the more recent albums appropriately have replaced with mature pacing. For the true prog fan, saying MDK is essential is obvious.
It may not be your cup of tea, but to deny its place is folly. I grew aware but none the wiser after listening to the albums. Now, MDK is a true masterpiece of prog genius. The whole body of music is like a long, furious march, relentless and uncompromising. I've rarely heard music so agressive as this. It's so furious. The horns, the organ, the chanting and the drumming It's plainly speaking mindblowing and I cannot see how I could rate this album anything less than 5 stars. I think it's a milestone in progressive rock music.
MDK apparently tells the tale of a Kobaian prophet named Nebehr Gudahtt, who warms the human race that they are destroying their planet and have to change their naughty ways. When all is said and down the people rise against him and through throughout the album's ups and downs and twists and turns the people finally begin to adopt the ways of the Kobaians in order to redeem themselves.
I'll have to accept that since i no speako Kobaian but it sounds like a logical story that is a mere segment of a much larger tale drawn out in the many album that MAGMA put out in the 70s. The music is melodic and bombastic. To the max. This must have been some of the most ambitious music of the time even topping all the other progressive goodies that were coming out.
Although the music is based on simple bass line cycles that incorporate two competing choirs that often sound like orgasmic ghosts, it is the sprinkling of jazzy parts, rock attitude and Carl Off a la "Carmina Burana" rhythmic phrasing that really puts a percussive punch in the whole thing.
Musically this is akin to organic chemistry where long repetitive carbon chains create an extremely strong yet flexible backbone to support the smaller elements that cling onto it. Upon first listen I thought this was too repetitious and I do like this a tad less than the first more chaotic albums with far more influences than this but this was a grower and has blossomed into an outstanding album in its own right. If you want one of the most over-the-top rock operas ever to grace not only planet Earth but apparently the entire Universe than you simply must experience MDK for there is nothing else even remotely like it not even within their own alien and eclectic discography.
MDK is a departure from their first albums which were more like jazz rock and moves into the genre of "Zeuhl". What exactly that is I'd say it's best to just listen for yourself and give it a try, but for the sake of this review I'll just say MDK is symphonic, jazzy, prog rock in a made up language.
This made up language is common to almost all Magma albums, and while this is a hold up to some, I feel it's no different than scat singing: The words are not what matters, but the sound.
The vocals, over lyrics, how it fits the music, which it does superbly. The vocals are orchestral, intense, often crazy, but passionate and emotive.
Which is what can be said of the album album. It is undeniably insane, ridiculous and over the top but it's equally passionate and emotive. This is an intense album without doubt. Oh, and sure I know there is a story to this album and Magma in general, of which we know some details, but frankly I don't bother and just enjoy the music. So, there's not much else to say about this album and no better way to understand it than trying it yourself. Just take it for what it is and you will find this is an ambitious, innovative, fun, powerful album packed with feeling, something I think often lacks in prog, much as I love prog superb song writing, and Vander's epic drumming.
Operatic classical mixed with jazz and built in a prog rock style, this is one wallop of an album! The complexity of the music, the length, the sometimes unnatural, inaccessible and improbable changes in time signature, key signature and lyrical expression can tire out one's brain after a while.
It took a bit of mindless music to wash it all away, lost of electronic music and, yes, even rap. But everyone needs a change of pace periodically throughout their life, and since life is always a full circle, it was inevitable I'd come back to prog. I just didn't think it would be to this album. Granted, anyone who's a fan of Magma knows the story, the brainchild of Christian Vander and his made-up language that looks and sounds like French and German had a baby.
But even though this isn't the first in his storytelling project, it is widely considered to be THE album that personifies this genre called "zeuhl" that the band pioneered. What the genre is isn't necessarily written in stone, but from the first nine minutes of the album it's quite clear that at is roots, it is a fusion of rock and jazz, with sporadic elements taken from the world of contemporary classical music, as well as opera LOTS of opera, in fact all of the singing is very operatic and melodramatic in fashion.
Now I was a percussionist in William Paterson University, which has a New Music program, a program which plays music from composers such as Terry Riley, Steve Reich, Iannis Xenakis, amongst many others, so this kind of music isn't too jarring, as I'm sure it is to many others.
This is a kind of music that's best witnessed as a performance art rather than bumping in your car stereo. But the classical elements break up what would otherwise be just a typical fusion band. In popular music terms, this is probably the catchiest track of the lot, if you can even use that terminology. After 15 minutes, though, it starts to set in a very rhythmic, almost minimalistic pace. The main key signature never changes, save for maybe a few atonal breaks, shouts and freakouts interspersed, but otherwise, it's one long song from start to finish that doesn't really have any true breaks or interludes, save for a brief piano break in the beginning of "Nebehr Gudahtt".
The piece only truly changes at the final three minutes, where it all but degenerates in a slow, tribal march-like tempo, fit with loud drums, screeching horns, feedback and lots of screaming. Now I'm not sure the first live performance of this album had the some kind of riotous impact as, say, "The Rite Of Spring", but I'm damn sure it got a close enough. Energetic Happy Hypnotic. Romantic Sad Sentimental.
Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Saturday 24 August Sunday 25 August Monday 26 August Tuesday 27 August Wednesday 28 August Thursday 29 August Friday 30 August Saturday 31 August Sunday 1 September Monday 2 September Tuesday 3 September Wednesday 4 September Thursday 5 September Friday 6 September Saturday 7 September Sunday 8 September Monday 9 September Tuesday 10 September Wednesday 11 September Thursday 12 September Friday 13 September Saturday 14 September Sunday 15 September Monday 16 September Tuesday 17 September Wednesday 18 September Thursday 19 September Friday 20 September Saturday 21 September Sunday 22 September Monday 23 September Tuesday 24 September Wednesday 25 September Thursday 26 September Friday 27 September Saturday 28 September Sunday 29 SeptemberView credits, reviews, tracks and shop for the Vinyl release of Mekanïk Destruktïw Kommandöh on Discogs/5(10).