MAGMA [AKA: KOBAÏA]

...more like A classic-trained phrenetic And Creative insanity. Or Genius. A person who will find such a unique way to combine jazz and classical music with original ideas for creating a qualitatively new type of musical conception in near future, and who put so much diverse (although not really monumental and revolutional this time) originality into his band's first album, couldn't fit my definition of genius better. Originally self-titled Magma's first double album Kobaïa stands out as perhaps their most challenging, 'pretentious' and artistically diverse project, varying from jazz through classical music to avant-garde. I totally agree with someone's note, the only comparable (in some ways) thing I can think of is Soft Machine's Third, within the year at least. Considering 1973 (when 'ground-breaking' sounds from the planet Kobaïa has reached the Earth), there's really nothing that could be considered 'Zeuhl', but incomparable Kobaïan language is already presented. Musically, it's not like there are no precedents for this album which is basically a progressive-jazz-rock/avant-garde album with some classical influences (completely different from the kind of classic that influenced MDK though) and somewhat innovative or at least really unique uses of vocals in a 'made-up' language. This album is really hard to get into, by far the hardest one in Magma's discography, but to say it's rewarding is an understatement. Plus, it's still accessible if you're already into jazz and avant-garde,

Side one. Opens with self-titled composition which is most popular track on the album for some reason. A great, well-structured, featured some nice jazzy improvisations jazz-rock composition which already presents these significant schizophrenic shouts. Enjoyed by some and considered annoying by many, these crazy 'vocals' will always work and bring an extremely important element of album's mood - psychotic weirdness. I suppose that second composition Aïna is more of Vander's masterpiece (than previous one) and the best composition of side one. This one is really impressing and even horrifying at first listen, starts as a relaxing generic jazz instrumental and ends in pre-avant-garde convulsions. The more you've passed, the more crazy it gets, and it sounds not only like music gets crazier, but like music wants to go insane more and more. 5/5 for Aïna and 4/5 for Kobaïa and Malaria.

Side two. Sohïa is more 'rock' than the rest of the album ever could be, mostly because of that guitar riff. Sckxyss, can you pronounce that? The saxophone section (featured some special effects and bass) gets tremendous at times. These two non-Vander's compositions (and especially Sckxyss) remind me of Soft Machine's Second and to be honest Magma's compositions are slightly better and receive 4/5, unlike Auraë, which features first appearance of avant-garde elements and easily the best composition of side two. This one stylistically belongs to side four, includes that loud sound in the midst of silence which is going to scare you, a very effective use of some bass sound for creating a truly 'weird' mood, and much more to digest. 5/5 for Auraë.

Side three. If you didn't like the first half of the album, this is the place to stop, cause it's even less entertaining and has less in common with 'rock'. The central part of Thaud Zaia is the highest point of side three (4/5) and the way how that 'entertaining' fragment (which you belive lost its place somewhere on side one) immediately falls into dissonant avant-garde insanity makes relatively calm Naü Ektila 4-star composition as well.

Side four. Finally. I saw a metal-head said this album was really easy to get into and he pretty much liked it. I really hope he liked this side as well. This is the highest point of avant-garde psychosis of the album, probably more bizarre and weird than Zappa ever could be and a perfect place to spend much time on. The intro of Stöah sets the tone of horrifying schizophrenia. An interesting detail: Pay attention to these sounds of sea and gulls and then that loud sound will stand out as a special effect for harbor next time. The only thing you can think of at the end of Mûh is 'hold on... hold on...'. This is the moment where the horrifying cover couldn't fit the music better (what do you see on the cover by the way, a volcanic eruption or bird's foot?). While nearly half of both compositions is pretty much normal music, the rest, not falling into total chaos and thus managing to convey an emotion of weirdness, is the reason why this album should go in the top 15 of the weirdest albums of all time. As for the these 'spells' at the very end, I don't know what it means, but they leave you mesmerised for five minutes. It's interesting to note that these words already appeared on Auraë (and... will appear on K.A). And finally, what is extremely important is that side four (especially Stöah) does give first musical hints of Zeuhl....

Now, I think I have a serious problem in respect of my rating strategy here. Either I'm going to be an amateur critic giving 'objective' ratings, or I'm going to give higher ratings to albums that I consider fit my definition of progressive music and to give lower ratings to the rest. I suppose it's a special view of progressive music rather than a problem. Every time I pronounce word 'progressive', I mean not only 'complex', but mostly experimental, innovative and truly original music. It may look like I'm going to give 4-5 stars to everything as long as it's in RIO, Zeuhl and Eclectic category, and 1-2 - in, say, crossover prog, but I'm not going to be pseudo-objective either. I think an avant-fan amongst metal and sympho heads isn't big problem. My personal rating for the album is 4.7, I can down it to 4.5 due to the fact that it could be theoretically even greater and that it-is-not-for-everyone, but the date it came out immediately raises it to 5 again. Also, the fact that Kobaïa is by far most challenging, hard-to-get (and thus offering more time to spend on) and avant-garde Magma's album is another huge-plus-in-my-book. As a challenging and adventurous listening, work of the highest artistry and experimental jazz-rock/avant-garde, this is an essential masterpiece (as much as, say, SM's Third). I give this album 4.5 really, and raise it to 5 due to the date and personal predilection.

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