ZEUHL

The music is often hyper which I have never liked. It's why I have had trouble getting into some of the Avant and Zeuhl bands from Japan who like to go a million miles an hour, just not my scene. Anyway it's mostly the vocals that turn me off especially when they turn theatrical and they are often the focus. Now having said that the instrumental work is faultless. Man the bass player kills on here as well as the drummer. Some inventive guitar playing here as well but as I said earlier it's hard to get past the vocals at times. It's catchy and uptempo with vocals in French.

Keep in mind this is rated fairly highly by a lot of music fans who know a lot more about music than I do, but all I know is that it doesn't suit my tastes more often than not despite being impressed many, many times throughout this 35 plus minutes of music. I just get irritated with the frenzied vocals and sound at times. And on a final note the album art is just plain bad in my opinion. Glad I got to finally spin this though.

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

I highly enjoyed Universal Totem Orchestra's first two albums! And although I never critiqued them and it's been a while since I've listened to them (man's time is so finite) they would both have been in the 4 to 4.5 range. Both great albums themselves! Now their new album Mathematical Mother, has seen UTO take that step up to the 5 star plateau without a millisecond of hesitation on my part! And here I go contradicting myself, the last two songs seem to lose a quarter step on the rest of the album without affecting it's stance in the least bit. And yet when I listened to them first while preparing to write this critique, they both stood very well on their own! One of the elements that I feel I want to mention is the female vocal parts. Although I am not always a great fan of female vocalists, it works very well here and I can't help but feel as though I hear late 60's pop music jazz vocalizing going on to amazingly wonderful effect.What an album!! As I listened to it this morning, the description that kept coming to mind was transcendent music that hearkens to the Grace that transcends absolute nothingness. It is the deepest grove music I feel I've every come across! What an F'in' album! I can't imagine this album not being on many a best of 2016 lists! Wow! I do not hesitate to recommend this album! I can't wait to turn others on to this great piece of art! With that I bid you all farewell. Take care and enjoy God's gift of music!

This band was originally formed as an offshoot of Runaway Totem, which probably goes some way to explaining why they released their debut in 1999, their follow-up in 2008, and this their third in 2016. They are often described as Zeuhl within the prog world, but I'm not convinced myself that the term has a great deal of merit outside of Magma, so let's instead keep this simple. However one wants to classify this album, or whatever sub-genre one wants to put it in, it can all be said in one little word, "beautiful".

Whether it is the soaring classical vocals, the perfect piano accompaniment, the amazing bass, or the move between jazz, fusion, funk, classical, Arabian and progressive styles, it really is the only word that matters. This is a delicate album with instrumental passages that are dynamic and powerful, with vocals that can be strident or fragile, with everything always working together in perfect harmony. Some of the guitar on opener "Terra Cava" is sublime, and it shows that even proggers can shred when they wish to, it's just that they often don't want to. At fourteen minutes long, this is an epic song in so many ways, not just in length, but in the sheer complexity and the way that all the passages make sense individually and come together to create a whole that is breathtaking both in its complexity and melody.

'Mathematical Mother' is a very special album, one that is incredibly complex and intricate, yet also very easy to listen to, and totally enjoyable the very first time it is played. Let's hope we don't have to wait quite so long for the next one.

The main vocalist Ana Torres Fraile is amazingly talented. She uses her strong and clear voice masterfully, from the operatic and Gothic soprano wailing to more intimate singing. The lyrics are in Italian; I have no idea about the textual contents. Occasionally there are also choir-like male backing vocals, but this music is not vocal-oriented, at least not in the common sense of the word. As with Magma's use of Kobaïan language, the voice is pretty much like another instrument, and there are plenty of more or less pure instrumental sections too. The epic opener 'Terra Cava' (14:06) is a good example of that. It is truly gorgeous, actually so beautiful and perfectionistic piece of complex-and-yet-naturally-flowing prog that the expectations for the whole album are dangerously high. 'Codice Y16' attempts to pack a lot of things within 5 min 21 sec, sounding quite restless.

'Elogio del Dubbio' shifts from Gentle Giant-ish funkiness to ethereal Dead Can Dance -resemblance with Oriental flavour (tabla). Well, if there is a problem with this album, for me personally I mean, it's the occasional thought of overblown eclectic complexity. but then I'm disarmed once again by the serene and acoustic beauty in the beginning of 'Architettura dell'Acqua', the second longest track (11:27) that rivals the magnificent opener. 'Citta Infinite' has jazziness, operatic/Gothic flavour and instrumental excellence, for example in the form of a vibe solo by one of the guest musicians. Perhaps the closing track is a bit too restless (especially for the rhythmic complexity), as is the album in general, for my personal taste, but I certainly recognize highly original prog excellence when I hear it. In a word, this album is amazing. If you like complexity, operatic female vocals, superb use of instruments and bands as varied as GENTLE GIANT, MAGMA and DEAD CAN DANCE, you'll love this one.

This setlist showcases Magma's range quite well, from the dark, oppressive atmosphere of Kohntarkosz to the uplifting neo-gospel stylings of Linhs and 'm'hnt'ht-R', as well as the more accessible jazz fusion stylings of Nono and The Last Seven Minutes. This setlist feels rich and fulfilling and hits all of the major emotional beats one expects from this incredible group of musicians, from the crushing weight of hell, to moments of poignant reflection and finally to the heights of ecstasy.

This particular DVD, Epok III, sees a considerable step up in sound quality compared to the last two releases. Christian Vander's drums are more appropriately mixed, still full of nuance and texture but not as overbearing and overtly harsh as they were at times on Epok I and II.

While Magma are excellent on album, they're truly a world apart when performing live and thanks to these DVDs, we finally have a small fraction of this integral part of their legacy available on relatively high quality video and audio. The performances here are precise and charged, and although the sound and video quality still isn't quite as fantastic as it could be, it captures far more than any other live Magma offering to date has managed.

If you're new to the group or already a fan of the studio albums (but have never heard Magma live and in high quality,) this DVD and the next in the series, Epok IV, constitutes the holy grail of zeuhl. The apocalypse of humanity has never sounded quite so beautiful.

Yes their avantgarde melodic / rhythmic strides tinged with post-rock convolution and Krautrock dizziness reminds me of an electronic / Kraut oddball Kuppulung. On the other hand, for example via "In Tongues" it's amazing we can hear some Zeuhlish mysterious addictive melody distortion. So wonderful deep, heavy, complex sound theater can be screwed into our ears as if they are not duo nor chamber but temporarily orchestrated like in "The Clock". Generally a chamber duo cannot do a lot but their "limited" work full of minimalistic ambience with various rock essence is fine. Looking forward to their next stage ... what and how they will create in future.

- François Cahen / Yamaha acoustic piano, Fender electric piano, Korg synthesizer - Didier Lockwood / acoustic & electric violin, artianal bass violin - Gérard Prévost / Fender bass, hors phase bass, acoustic bass - Yochk'o Seffer / Soprano & Sopranino saxes, vocals, piano on F.F.F. - Jean-My Truong / orange double drums

1. "Natura" (7:03) sounds so much like a modern Pat Metheny Group epic--but it pre-dates all that! Piano, chunky and jazzy bass, and nasal soprano (sopranino?) sax all sound good together. Jean-My is a little quiet. (9/10)

2. "Tserouf" (8:59) a very tight funky jazz fusion song that could have come off of any of the American masters of the era--Miles, Chick, Stanley, Zawinal, even JLPonty, Area or Bob James! Great song. Very melodic. (9.5/10)

3. "F.F.F. (Fleurs for Faton)" (2:34) very nice little musical étude performed by piano, acoustic violin and bowed double bass--like a gift from Débussy or Fauré. (9.5/10)

4. "Kabal" (4:14) very tightly performed, fast-paced opening before stepping down to a slower tempo at 0:50 for some synth work--but then things ramp up again with EVERYBODY getting into the act MAHAVISHNU style. The bass and drum work remain super tight and focused at the bottom throughout this display of virtuosity. (8.5/10)

5. "Sadie" (3:43) opens rather loosely, as if walking by a Jean-Luc Ponty-like street musician. The sopranino sax, bass, and electric violin melodies and harmonic support throughout this oft-shifting tempoed song are gorgeous. At 2:40 we are even treated to an overdubbed solo track for the violin. Nice. Creative, inventive song. (10/10)

6. "Free Folk" (10:44) there's a very relaxed vibe throughout this song--like a WEATHER REPORT song. As a matter of fact, there's very little here--or on this album--that harkens to Zeuhl music. Feels and sounds like the Zao crew has shaken loose from the Vander clutches and moved fully into the jazz fusion fold. Nicely done. Probably the weakest song on the album--almost anti-climactic fill--but still good. (8.5/10)

The question is: why is Jean-My Truong so sedate and/or mixed so low in the soundscape?