ZEUHL

The bass is the most notable instrument heard on this album, with consistent funky basslines on each composition. The drums are equally as impressive, too. The synergy of the two instruments give this album so much atmosphere and depth, tying this album its spacey vibe and hypnotic sound.

I absolutely loved how they stacked sound on top of sound in such a well-composed manner, always building with each sonic inclusion, never settling. It makes everything feel so open, and nothing is left out. And yet some of the sounds on here, like the rumbling oscillating bass lines, create such an ominous chaotic atmosphere, that this record manages a dichotomy of moods that makes for great listening. The opera vocals are another wonderful addition that add to the epic nature of the release. And the drums on this thing are unrelenting, taking some interesting rhythms from the great Bitches Brew to draw together frantic raves that work wonderfully in tandem with the constantly speeding bass to support some of the most original keyboard riffs I've heard on a Zeuhl record. And t he staccato nature of a lot of these riffs build a delightful tension that add even more energy to the already charismatic performances on this record.

To nitpick, sometimes the attempts at vocal harmony, be it fore- and backing vocals or keyboard and lead, come off as sort of sloppily thrown together, and become a little too much given what all is usually going on when they attempt it. Also I wasn't a huge fan of some of the brighter guitar licks that pop up arbitrarily on "Ecoute" that come off as unorganized and don't match the otherwise dark, claustrophobic nature of the track. Other than those minor gripes, this was a spectacular release with some VERY impressive builds that lead to even MORE impressive climaxes. 5.0 Quintessential to the Zheul subgenre.

My personal favorite song on the album is that nine-minute track I mentioned up above, with the title of L'Arche Des Mutations. It's creepy, experimental, and has an overall ambitious and interesting vibe that stays on track for the entire song. It manages to stay unique and different in musical form when compared to the rest of the album, even though it stays in the band's established sound for the record. The other songs, however, can get a little dry and move into more subtle, cult-like noise. By that I mean it seems like the band ran out of ideas and just copied the same recipe for a couple of passages. I also find the overall ambient aspects of every song just not really good or memorable. With that being said, there are still some more songs that I found intriguing. Specifically songs like Soleil Noir, La Roue, and Le Grand Secret. And while the track Sur Les Traces Du Vieux Roy falls close to that bland section I previously mentioned, I will give it credit because of the unique guitar style that, while probably not directly influencing King Crimson and Robert Fripp, would go on to represent what they would play in the Eighties.

In conclusion, this band would've never had the potential to be a top band in my eyes. Their unique approach to music as a whole, and often with a lackluster performance in some songs, would make it difficult for them to even come out with any recorded music in general. They had some sweet spots sprinkled over this album, but for me it just isn't enough to bring my rating anywhere over 3/5.

There are some absolute classic Zeuhl albums that were released in the first half of the eighties. By 1989 though not many were left standing. MAGMA would release an alternate version of "MDK", while this new band MUSIQUE NOISE sort of came out of nowhere. Okay they are from France and the biggest complaints you will read about them is that they sound like a carbon copy of MAGMA. And while this is true, it is specifically the vocals that are MAGMA 101. The music not as much. But they nailed the vocals. A male singer who is amazing, and he's from RIALZU who released a classic Zeuhl album in 1978. He's playing sax here as well. We get two classically trained female singers, who like the male vocalist absolutely nail the MAGMA vocal lines. It is really surprising how much this sounds like MAGMA vocally.

What makes this sound different from MAGMA is the lack of a Zeuhl rhythm. The bass just isn't given that role of being fuzzed out and upfront. Besides the RIALZU member, we get two original ESKATON members here on keyboards and drums. This is a legit Zeuhl album all the way. This is not a new style of music for this band. So yes there's a bit of a conflict because I will admit lowering many ratings for albums that seem like a copy of another band. Originality counts for something. But there's also been many like this one where I just have to acknowledge that this is an amazing record.

And again to be fair, the instrumental part of this equation is where they bring in their own ideas. These ideas by the way are even more original on those 4 bonus tracks meant for that second album. A different flavour, and an exciting prospect as it could have been a classic. And again, it would have been "out of time" as it were for that Zeuhl style in the early 90's. They set this re-issue album up with the four bonus tracks fitting between the original final two tracks. So you can't skip them? Or to make it seem more natural perhaps as an album . They clearly were proud of what they had composed and recorded, more original sounding. It's just too bad that second record didn't happen. Now I noticed this band did finally release album number two in 2016! With the same core lineup, which slipped past me at the time and it's probably long gone. But it would be cool to hear that one to see where they went musically compared to the demo tracks and the original MAGMA inspired album.

The male vocals on the demo tracks are more adventerous and prominent, while one of the females is gone, and the other has a reduced role. Again that second release would have had a different flavour for sure, and that being much less MAGMA sounding. Sax and electric piano lead the way instrumentally on this record. For what it's worth they brought in a second sax player for what would have been that second record. A jazzier sound for sure.

This is an incredibly well done recording with some credible Zeuhl participants, and there's no way I'm not giving this 4 stars. I really dig this one despite the MAGMA inspired vocals. And it's 1989! Yes, a bleak time for my music.

While I know many may find these sounds to be a bit too weird, I think that is the charm Magma rightfully holds. They may not be as weird as, say, Art Zoyd or even their Japanese little brother of Ruins, but Magma owns their refined avant- gardeness with pride. They care not for conventions of rock or jazz music, nor do they care for if they will ever appear on a radio ever. The only thing they care about is making the weirdest, most trippy experiences possible, and also to refine them into more interesting sounds which I respect songs do not need to have radio play to be good.

This is evident as to how this record came out after their second record of 1001 Degrés Centigrades, which, while still zeuhl, was a lot more based in jazz fusion and a more traditional rock flow. However, MDK explores a sound that fits way better into the vision of what zeuhl should be, a more orchestral, brass based version of what they did before. It all evolves into something that I think firmly is within its own thing, and I fully believe it works perfectly. This is a once in a lifetime record, since everything just fits together with zero hang ups or different expectations. You aren't gonna get jazz fusion, at least not in a traditional sense, nor a traditional prog rock, or jazz rock experience. You are gonna get ZEUHL. MDK is zeuhl in its purest state. It is the absolute zero in this amazing and weird musical genre, the basis if you will.

It is not a surprise that Vander is proud of this record, as he practically remakes it whenever he can in live shows, his own records, and or even releasing an older version of the music in the 90s. I'd be too if I made something this good. While I do think the live albums are a discussion for another day, MDK in a live setting works just as well as the studio version. The versions of MDK on Retrospektïw, Magma Reims 1976, and Trilogie Au Trianon are my favorites, maybe I might consider them masterpieces in their own rights too. My personal favorite is the one from Retrospektïw, as it has this bass solo from Bernard Paganotti that has a bit of a call back to De Futura, another s-tier Magma track. Not only that, but it also has that amazing opening that feels so dramatic and heavy, that it turns MDK into not only a musical expression for me, but a full blown epic.

I could go on all day, though I think I'd be scraping the bottom of the barrel for my love on this record if I continued any further. Where all kinds of bands made me fully fall in love with progressive rock music, , me personally a lot of jazz fusion bands are where my love of the different, more avant-sides of the progressive rock house fully bloomed into a point of no return. Of course, I fully believe everyone should at least listen to this album once, as it is just amazing. I love Magma with my whole heart, and I doubt that other bands can encase what Magma contributed to the Zheul sub-genre This is album is great I love it I can see the talent from the whole group and thier other efforts, but its not my daily listen so to say. 4.5 stars

The debut album (recorded in 2016, released in 2017) was a quartet work with no keyboards featured, the relatively short, tight tracks basically pretty close to guitar-heavy psychedelic space rock. For this 61-minute Dai Kaht II (recorded in 2018) the line-up was expanded by the keyboards and sound fx man Roope Pelkonen, who had recorded the debut. In addition, Kemppainen handles several instruments, and the choir personmel has four more members (from both sexes).

The number of tracks is again eight, but most of them averagely longer than on the debut. The compositions have more twists and turns, and there are much more instrumental sections where the Magma imitation (that concerns the vocals in particular, and they are often painfully martial) becomes less obvious. One can occasionally sense some Yes-like symphonic prog. Due to the keyboards the general sound is also richer. This album indeed has more epic feel, and with the help of the English subtitles one can try and form some kind of a storyline full of battle, despair and moments of relief.

The longest and perhaps the best piece 'Moa Orgata (Eye of God)' contains also English lyrics, and the album ends with a shorter mixed-language song that is part sort of down to earth, part cathartic with some Yes feeling. Don't know how the puritan Zeuhl fans take this, eh, tribute if you like, but I consider it a well done artistic success.

The music on MAGMA's first two albums is so different from what would follow. This is before the females were part of the band, before Jannik Top was part of the band. And it was very much an experimental jazz style with three horn players as part of their lineup. There is no chanting or rhythm here. This is like proto-zeuhl. And I find it tough going. I prefer their first two studio album to this live one. Perhaps the sound quality is affecting me more than I thought. Christian doesn't help the way he starts off the album screaming in that high pitched voice. Annoying. The bass also doesn't rise to the Top if you know what I mean.

I had a hard time with this, this past week. And I "get" Micky giving this 2 stars although he says personally it's a 4 star record for himself. I can't go higher than 3 stars, or lower for that matter. It's a nice document from their beginnings though. And it's always nice to hear future ZAO members Cahen and Seffer doing their thing. Love those two.

ALMOST 4 stars

But, now talking about the songs

Balafon its a really nice song to start the album

Paris Dormant its a really nice song

Spa its a really nice song

Lune de Miel its a really nice song

Vêtue de Noir its a really nice song to finnish the abum

Its incredible how everything is good in entire album, so please give a chance

Now they clearly had a change of heart and released the much better "Kartehl" in 2022. "Zess" would have been a very disappointing way to end their careers. To quote Christian Vander "Zess is the story of the end of everything. The end of time and of everything that has ever existed. Absolute oblivion, like a dreamless night. It feels like nothing ever existed, nor will it ever exist again. All forms of consciousness have vanished." So yes this had the potential to be this dark and powerful apocalyptic recording with the focus on the instrumental. One hope right there.

Another hope was that "Zess" as a composition has been around since the 70's and for me that was hopeful. Yes it was never a completed piece, and created during the "Attahk" sessions. But played live often in it's various forms. So here Vander ties a bow on it and presents it to us in it's completed form. Starting in the spring of 1979 it became a staple of their live shows until they put it aside in 1983. They would return to it in 1992 but with an acoustic version, then again in 2005 with their 35th anniversary celebrations, and a full electric version at that time.

As far as the fears go, number one was reading that Christian was going to be the main singer and so brought in Morgan Agren to be the drummer here(there's drums on here?). Now I had no fear that Morgan was replacing Christian on the drums, my fear was that with Vander being the singer that he would dominate. And he does. This is "Merci" all over again where Vander decided to be the singer, giving up the drums, and the result was an album in 1984 that shouldn't even be part of their discography. "Merci" should have been part of Christian's side project OFFERING which I think he realised after the fact and why OFFERING was created 2 years after "Merci" was released. An outlet for those vocal dominated, soulish/jazzy tunes.

I also feared about the orchestra being involved. I do get it though because I do feel like "Zess"as a composition is lacking. An orchestra might cover this somewhat. It doesn't. It's one long 38 minute piece of music divided into seven parts. And this is vocal driven with sparse instrumentation save for the orchestra's involvement. I'm really disappointed with the music, but also I must admit that MAGMA has become somewhat of a comfort thing to me over the years. So just hearing this album all last week was nice, despite my fears being realized and my hopes crushed(haha).

The packaging could not be any better. A media book is like a mini book with lots of pictures and information. There's even some english for a change. I like how they show the instruments of all involved with their names attached to it. No pictures of the musicians or singers themselves. Kind of cool, even with the orchestra the picture is of all these chairs littered with violins etc. So the focus is on the instruments they play, not the person themselves. I like that.

This could have been something. Instead it's a vocal dominated record that sounds nothing like the end of the universe.