ATTAHK

After Üdü Ẁüdü, Jannick Top would leave Magma to form the electronic band Space. Magma, in turn, would continue to tweak their sound. 1978's Attahk, saw the band integrate more funk, soul, R&B, and gospel elements into their music. The album cover was designed by H.R. Giger, and some fans have speculated that the strange figures on it, Ürgon and Ğorğo, are from Ork.

"The Last Seven Minutes (1970-1971, Phase II)" is an energetic opener, featuring charging bass, keys, and drums. Around two minutes in, we get our first glimpse of Magma's new, funkier sound in a section that could almost be described as proto-hip-hop. Funk elements are evident throughout the song's core, though only Magma could have made a record that sounds quite like this one, while the closing section sounds like something off MDK.

What follows is "Spiritual (Negro Song)", and the soul and gospel elements are unmistakable. (This song has been retitled to "Spiritual (Gospel)" on the most recent CD reissue.) Magma's music always had a certain hymnal quality to it, and adding in the warm, uplifting tones of gospel music seems natural and intuitive. "Rindë (Eastern Song)" is another short song, though rather less jubilant than "Spiritual". This piano-and-vocals piece sounds like a throwback to Ẁurdah Ïtah and is one of the weaker tracks on Attahk.

Side one ends with "Liriïk Necronomicus Kahnt (in which our heroes Ürgon & Ğorğo Meet)", and some similarities with "The Last Seven Minutes" are immediately evident. It also kicks off with an energetic, bouncing instrumental passage featuring some lightly-distorted scat singing. Jumpy, fuzzy bass provides the primary backing for the vocals and retains significant momentum.

Sequenced synthesizers, brass, and crashing drums open up side two on "Maahnt (The Wizard's Fight Versus the Devil)". The verses are reminiscent of Üdü Ẁüdü with their minimal, bass-forward instrumentation. Distorted vocals and spooky synths effectively convey the feeling of battling the devil. Brass returns in the song's second half as it builds toward a climactic synth solo.

After such a grandiose track, "Dondaï (To an Eternal Love)" effectively cools things off. It's in the same vein as "Spiritual": a mellow, warm, piano-based piece with a soulful backbone. Crunchy bass enters in the second half of the song, adding to its intensity.

Attahk ends on "Nono (1978, Phase II)". "Nono" is a tense song. The opening bassline is inviting, but electric piano, skittering high-hats, and intense vocals propel it anxiously forward. The backing choir, though, eventually gives the song a hopeful, uplifting tone, perhaps signaling a sort of rebirth following the war with Ork.

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