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ZEUHL

A Progressive Rock Sub-genre


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Zeuhl definition

Zeuhl is an adjective in Koba´an, the language written by Christian Vander, drummer and founder of the French band Magma.

Pronunciation: zEU(h)l, while the EU are like a French E with a slight U, and the (h) is a semi-silent letter which is an integrated part of the EU, totaling in a "syllable and a half".

The word means celestial, although many times it is misunderstood as meaning "celestial music", since the members of Magma describe the genre of their music as Zeuhl. Zeuhl Wortz, though, means Music of the universal might.


The genre is a mixture of musical genres like Neoclassicism, Romanticism, Modernism and Fusion. Common elements: oppressive or discipline-conveying feel, marching themes, throbbing bass, an ethereal piano or Rhodes piano, and brass instruments.

Current team members (20/05/2016):
Raffaella (Raff)
Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)
Ori (frippism)

Zeuhl Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Zeuhl | More Top Prog lists and filters

4.30 | 810 ratings
MEKAN¤K DESTRUKT¤W KOMMANDÍH
Magma
4.27 | 564 ratings
K.A
Magma
4.25 | 411 ratings
EROS
DŘn
4.28 | 180 ratings
4 VISIONS
Eskaton
4.19 | 433 ratings
╦M╦HNT╦HTT-R╔
Magma
4.19 | 285 ratings
CHRISTIAN VANDER: TRISTAN ET ISEULT [AKA: ẀURDAH ¤TAH]
Magma
4.24 | 159 ratings
WEIDORJE
Weidorje
4.14 | 319 ratings
F╔LICIT╔ THÍSZ
Magma
4.13 | 349 ratings
1001░ CENTIGRADES [AKA: 2]
Magma
4.11 | 393 ratings
KÍHNTARKÍSZ
Magma
4.43 | 55 ratings
MAIS ON NE PEUT PAS R╩VER TOUT LE TEMPS
Thibault, Laurent
4.16 | 115 ratings
INFERNAL MACHINA
Top, Jannick
4.04 | 377 ratings
MAGMA [AKA: KOBA¤A]
Magma
4.14 | 110 ratings
THE MAGUS
Universal Totem Orchestra
4.30 | 44 ratings
BONDAGE FRUIT II
Bondage Fruit
4.07 | 107 ratings
LES MORTS VONT VITE
Shub-Niggurath
4.09 | 79 ratings
RITUALE ALIENO
Universal Totem Orchestra
4.06 | 91 ratings
EIDER STELLAIRE I
Eider Stellaire
4.09 | 69 ratings
GU╔RISON
Setna
4.19 | 41 ratings
ARCHA¤A
Archaia

Zeuhl overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Zeuhl experts team

TRIMEGISTO
Runaway Totem
C'╔TAIENT DE TR╚S GRANDS VENTS
Shub-Niggurath
LES MORTS VONT VITE
Shub-Niggurath
NEFFESH MUSIC :GHILGOUL
Seffer, Yochk'o

Latest Zeuhl Music Reviews


 FloŰ ╦ssi / ╦ktah by MAGMA album cover Singles/EPs/Fan Club/Promo, 1998
3.90 | 36 ratings

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FloŰ ╦ssi / ╦ktah
Magma Zeuhl

Review by Tapfret
Prog Reviewer

4 stars Never have I been much of a collector of singles, but this "single/b-side" CD has a very special place in my collection. Their is a fairly long-winded story that goes along with my affinity for the disc that is likely not particularly review appropriate. The short version is hearing this on the radio (yes, the radio) accidentally one early 1999 night before bed while setting the clockradio alarm. The unmistakable vibrato of Chistian Vander with the familiar muffled ring of slightly overdriven Rhodes whiffled through the tinny little clockradio speaker. "That sounds like Magma!!! ON THE RADIO!" It was, as it turns out, ╦ktah being played during a promotional interview for the 1999 International Progressive Music Festival in San Francisco. What better than to hear Magma on the radio? How about finding out I was about to see them live?!? Something most of us thought would not happen in the US at that time.

The song itself, as previously stated, was undeniably Magma textured. Obviously not the epic composition we have come to expect, but very intricate and tightly mixed music. Vocally the verses not only carry the operatic tonality we come to expect from Magma, but Christian's syllabic rhythms on ╦ktah are unique even for him.

The "A side", FloŰ ╦ssi, is the jazzier of the tunes. My only live experience with Magma has featured Phillipe Bussonnet on bass and he never disappoints. Here, he blasts into the song with his driving, growling sound in he songs jazzy intro, then softens in the middle; complimenting the soft ethereal harmonies of Stella and Isabelle. The song rounds out in less then 3 minutes, but does not feel short or in any way incomplete.

Overall, this is an extremely enjoyable listen, albeit short. It is highly recommended for fans and actually makes a very accessible intro to Magma's sound for the unfamiliar; a feature that actually convinced me this was worthy of tipping to the 4 star side. The catch is availability. To my knowledge, at the time of this review, neither of these songs is featured on any of the many Magma compilations or live publications.

4 Stars

 Simples by MAGMA album cover Boxset/Compilation, 1998
3.55 | 18 ratings

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Simples
Magma Zeuhl

Review by Tapfret
Prog Reviewer

3 stars Rather than have an accidental "quick rating" deleted, I decided to give this collection of singles a listen, then another, and another. Moments that I totally expected, but obviously I found enough enjoyable aspects to these 5 songs to warrant several listens and a review.

Familiarity arrived in the form of Mekanik Kommandoh, which as is it implies, is the 6th movement of MDK; and Tendei Kobah, which is recognizable as the intro to 1001 Centigrades opener Riah Sahiltaahk. The latter would be identified in the 2014 re-recording of Riah Sahiltaahk as Watse´ koba´a. The recordings sound comparatively primitive to later renditions, but take nothing away from their enjoyability in that regard. Whether hearing these pieces outside of the context of their parent compositions is left for the subjectivity individual listener.

The highlight of the album for me was Mekanik Machine, which I will be presume to label "proto-funk-metal". By most Magma standards it appears quite simple. But it is a raw and heavy tidbit that most Magma listeners should find joy in.

The low point would be Klaus kombalad, which I would not be able to pick out of a lineup of late 60's psychedelia as an actual Magma tune.

Overall, Simples exists in the early horn-heavy phase of Magma. I would say it is not likely a good starting point for Magma noobs, but an enjoyable enough listen that it should be included in any Magma collection. Unless you have all these singles individually. In which case, forget it.

 Ruins - Hatoba by RUINS album cover Studio Album, 1994
3.06 | 6 ratings

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Ruins - Hatoba
Ruins Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars While the unhinged drummer Tatsuya Yoshida is often referred to as the Japanese version of Christian Vander for his avant-garde crazed and adrenaline fueled take on Magma's zeuhl contributions to the musical world, on this particular early collection of recordings (1991 - 1993) where he hooked up with experimental and psychedelic noise rocker Omoide Hatoba, he created a very, very strange and bizarre album that will surely leave anyone who dares to enter these realms with the lingering question of if most of this could actually be called music! While zeuhl rhythms dominate the majority of RUINS releases, on this one it is the pure essence of noise rock laced with the extreme and utmost experimental features that could leave the uninitiated running away in sheer terror. On this release there is no doubt that RUINS (sometimes referred to as RUINZHATOVA) runs side by side with label mates the Boredoms in creating the most bizarre and extreme sonic expressions possible all the while maintaining a humorous journey through the unexpected. If you think RUINS in general produces some of the most asymmetric angular bizarreness in the experimental rock world on their "normal" albums then you really need to check out this freak-a-zoid world of the oblique and free form psychosis rock that equally eschews the norms at every step similar to the early Boredoms albums while worshipping the cult of unconventional and placing pandemonium on center stage with a crown royale gracing its riotous presence.

This album is (for the most part) a series of short attitude filled with short punk (in attitude) mode tracks that come and go rather quickly most lasting less than a minute but some reaching the unthinkable three minute mark. Sometimes some thrash metal is added, sometimes weird sound effects, but always highly unstructured musical creations that offer glimpses into the musical ward of an insane asylum but somehow always finding a glimmer of resolution. Graced with ridiculous track titles like "Macrocosmic Microcassette," "We Are All Frozen Stiff," "United States Of Stink Bug," "Geeg Geeg Geeg," the short but sweet post-punk meets avant- prog tracks that deliver all kinds of bizarre twists and turns ranging from funk guitar to chanting to heavy distorted punk / thrash guitar to acoustic psychotic folk that makes me think of Tiny Tim during an acid trip. Everything about this album is meant to be jarring as one idea simply harpoons the previous down. While not quite to the level of early Boredoms where things change by the second, this callithump of creativity at least has the decency of staying somewhat stable for enough time to grasp what is going on.

While the first 25 tracks are an interesting sonic rotisserie of one bizarre idea after another, the true test of the listener's patience comes from the very last track "Rock + 1 (Challenge Your Face)" which lasts a staggering 24 minutes and 51 seconds! This is a true shocking contrast to the in-yer-face punk fueled shorter tracks that make up the first half of the album. The last track could possibly qualify as the most unlistenable piece of, a hem, "music" ever recorded down to tape (as it was in 1991 when this was recorded). This long and surprisingly LOOOOONG track is nothing more than a totally bizarre and wild a cappella ride that has the pseudo-form of creating melodies that has many vocal parts delivering the most bizarre interpretations of monkeys, dog wining and chicken clucking. It goes on for a staggering 20 minutes adding counterpoints and occasionally bizarre and weird echo effects. It's the kind of stuff you can't believe you are hearing! After those 20 minutes, it actually does some weird instrumental things and then turns into the first track of the first album by Italian avant-garde jazz fusionists Area ("Luglio Agosto Settembre Nero")

Just when you think it will never end, it does. This album is definitely a 10 out of 10 on the experimental bizarre-omater. It challenges all notions of what music is. It disturbs the senses like an atheist at a sacred religious ritual. It is Copernicus to the Catholic Church. It's just wild. It all sounds like a fun-fueled event that was caught on tape and subsequently released to the public. Everyone on board is having a very good time as evidenced by the laughter on board. This is free form rock of the highest degree with a healthy dose of Zappa humor on board despite the desire to utterly eschew every orthodox rule of established rock ethics. This is a must hear but will hardly be something that demands repeated listening, however there is something subtly addictive to this if you are an adventurous music lover and i would highly recommend this for everyone to at least check out once. While hardly essential, it is nonetheless strangely satisfying for those seeking out the most bizarre and heterodox musical creations to be heard.

 Amaterasu by CORIMA album cover Studio Album, 2016
3.97 | 14 ratings

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Amaterasu
Corima Zeuhl

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Wonderful modern Zeuhl with very strong presence of classical, jazz, and folk themes and instrumentation.

1. "Tsukutomi I" (6:44) starts out quite pretty then gets downright kelzmer! Yet, this is good, modern Zeuhl! (9/10) 2. "Tsukutomi II" (10:36) opens with some gentle foundation music supporting a nice soprano sax solo. (9.5/10) 3. "Tsukutomi III" (2:31) the finale of the three-part suite almost sounds like an overture from a late-1960s Broadway rock opera--heavy on the Hammond. (8/10)

4. "Amaterasu I" (3:45) Zeuhl classical piano?!! (9/10) 5. "Amaterasu II" (3:31) slowed down and spacious but just as ominous with violin, saxophone and female voices mirroring each other. (9/10) 6. "Amaterasu III" (4:53) again presents the Klezmer sound masked in JANNICK TOP/UNIVERSAL TOTEM ORCHESTRA- like female and male vocals. (8.5/10) 7. "Amaterasu IV" (2:34) sounds like it could have come straight off of a 1970s JEAN-LUC PONTY album! Great drumming. (8/10) 8. "Amaterasu V" (6:12) very standard Zeuhl in the Magma tradition (8/10) 9. "Amaterasu VI" (8:02) which is then continued in the album and suite's final song. (8/10)

4.5 stars; B+; a near-masterpiece of progressive rock music. It's so difficult for me to not like the intense spiritual feelings evoked by true Zeuhl music like this. This is the best Zeuhl album of 2016 that I have heard.

 Ruins II by RUINS album cover Singles/EPs/Fan Club/Promo, 1987
4.00 | 3 ratings

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Ruins II
Ruins Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars RUINS released their second EP a year after the first and doubled the length by upping the time length to over 20 minutes! They also changed up their sound quite a bit. This begins totally different as it has a mix of melodic bass lines that have a rather subdued effect although the drums are chomping at the bit for a major energy explosive release. After the short opening "Human Being" which belies their true nature, the appropriately titled "Entropy" unleashes the full RUINS effect with Kimoto Kazuyoshi abusing his bass and Tatsuya Yoshida going wild on his retrospective drum kit. Both men scream and holler like animals being violated in test labs and the mix of chaotic zeuhl rhythms and avant-punk chaotic dissonance destroy the musical landscape like a tsunami erasing entire coastal villages.

The main difference between the first EP and RUINS II is that this one has more moments of reflection and contrast in the form of straight forward melodic and rhythmic intros and snippets of sanity between the free-for-all noise rock meets avant-prog and zeuhl rhythms although they are short and to the point but at least recalibrate the listener's perception before taking the chaotic train to nowhere. The slower parts are much more in line with noise rock bands like Sonic Youth or The Jesus Lizard despite the wild and unhinged vocals but when the duo jump into the swirling eddies of brutal avant-prog they create a maelstrom of time sig tornadoes and unrelenting brutality that the listener finds difficult to believe that only two guys are creating. RUINS II is a step up from the debut in that it has more layers of sound, more diverse musical approaches and is slightly more accessible but still would be deemed extreme noise by the uninitiated who happened upon this.

 Ruins by RUINS album cover Singles/EPs/Fan Club/Promo, 1986
3.00 | 1 ratings

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Ruins
Ruins Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
3 stars Although intended to be a power trio the Japanese band RUINS (there's an Australian band of the same name) ended up as consisting of only two members: drummer/vocalist Tatsuya and bassist of which there have been four in the history of the band. On this debut EP that to date has only been released on 7" vinyl finds Kawamoto Hideki handling bass duties. Therefore there is no guitar to be heard but rather a cacophonous noise rock production that utilizes the Magma inspired zeuhl rhythms as inspiration but at this point these guys were into free improvisation with highly distorted bass tones, frenetic brutal prog workouts and screamed, shouted and screeched lyrics that were created in their invented language (the Magma connection runs deep).

On this short but sweet debut release that came out in 1986 they manage to cram six tracks into a 10 minute and 17 second release. The whole thing comes off as an avant-punk type of sound actually as the bass gallops so fast that it sounds like a guitar frenzy at times and some of the rhythms remind me more of a Dead Kennedys on speed than anything Christian Zander pumped out however the Magma influences are quite pronounced in the vocals even if the blatant instrumental aspects hadn't quite conjured up the sophistication to evoke their favorite prog superstars. RUINS is the logical beginning of this band that has always been about speed, distortion and avant-bravado. This EP was never released on CD but is on YouTube and many of the tracks are on the compilation "1986-1992" however "Crisis," "Catastrophe" and "Nocturne," half the EP is missing. This is decent but nothing totally unexpected or overly different than their more easily obtainable 90s releases.

 Tok 1 by ELEPHANT TOK album cover Studio Album, 2016
3.96 | 7 ratings

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Tok 1
Elephant Tok Zeuhl

Review by Mellotron Storm
Prog Reviewer

4 stars The news that ONE SHOT has called it a day was somewhat devastating for me considering I counted them as a top ten band. Daniel Jeand'heur ONE SHOT's incredible drummer has formed this new band and he's called on some musicians he has played with over the years mostly from SNAKE OIL and the PHILIPPE BERECQ GROUP. We get keyboardist Romain Nassini from both of those bands along with sax man Boris Blanchet from SNAKE OIL and trumpet player Aymeric Avice from MAGMA and JEAN LOUIS. Philippe Berecq himself plays sax on one track.

The wild card here and probably the "make or break it" equation in all of this is vocalist Sebastien Onan Morin who goes by the name Onan. He's a rapper and comedian and without question an entertainer extraordinaire. You have to hear this guy sing! On one song he sings in Spanish and it's so funny the way he plays that accent up. He sings French on a couple of tracks and on another he pretty much speaks the lyrics with attitude, almost rapping. Some will love this others will be disappointed. The music by the way is jazzy with lots of horns, fuzzed out bass and incredible drum work. Lots of Fender Rhodes as well and the guitar is a nice touch but not the focus by a long shot. This almost sounds like a cross between SNAKE OIL and ONE SHOT but a lot more fun thanks to the vocalist.

"Mammouth" opens with some busy drum work and fuzzed out bass as the horns come in blasting. The Spanish vocals before 1 1/2 minutes are both expressive and theatrical. So good! I like the instrumental break starting before 1 1/2 minutes with the horns, fuzzed out bass and drums leading the way. The guitar makes some noise as well bending that note over and over. The vocals are back with a minute to go.

"Introduction Ghost" opens with huge bass lines all fuzzed out as the drums then guitar join in reminding me of ONE SHOT. Horns a minute in then the tempo picks up 2 minutes in although I prefer the slower sections that remind me of ONE SHOT. Lots of blasting horns then electric piano before 4 minutes. Ripping horns before 5 minutes then the electric piano takes over as the drums pound. More horns 6 minutes in along with guitar and pounding drums. Angular guitar only ends it.

"Ghost" opens with drums and bass as the horns drop in. It kicks in before a minute with blasting horns, drums and bass as the vocalist spits out the lyrics with attitude. He drops several F bombs along the way. It calms down 2 minutes in as he whispers the words but it kicks back in quickly. Another calm a minute later with whispered words as contrasts continue. Some excellent fuzzed out bass too. Check out the Fender Rhodes after 4 minutes. Another calm with reserved spoken words and dissonant horns. The vocals start to get crazy again before 7 minutes. Another instrumental section before the vocals return after 11 minutes. The sound after 11 1/2 minutes is amazing.

"I Don't Look In My Back" sounds like ONE SHOT at first then the vocals and horns kick in. He's singing in French and it gets a little insane before 2 1/2 minutes. Experimental is the word. Some ridiculous Fender Rhodes work here then it kicks back in later including some guitar that lights it up. "Thrace(Le Vent A Balaye Nos Traces)" is my favourite track on here. Lots of space for the instruments to breathe as we get distorted bass, electric piano and cymbals clashing. Horns join in with some smooth expressions. A change after 4 minutes as it becomes darker with horns only before these massive fuzzed out bass lines kick in. Heavy stuff. Some expressive horns before 6 minutes then it ends like it began. Nice.

I adore the Fender Rhodes and fuzzed out bass and of course the drumming but blasting horns for me are hit and miss, usually the latter. The vocalist spices things up in a major way. Easily 4 stars for this jazzy release and it's Zeuhlish moments.

 Woodmoon (With Rogier Smal) by ONO, RYOKO album cover Studio Album, 2016
3.95 | 3 ratings

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Woodmoon (With Rogier Smal)
Ryoko Ono Zeuhl

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars Groovin'.

A new free jazz moonshine provided by a Japanese saxophonist Ryoko and an Amsterdam-based percussionist Rogier has come to me, happy to say. Saxophone play by Ryoko is quite aggressive, addictive as expected, and drumming or percussion sound by Rogier, whose play I've not listened to so far, is pretty flexible and freaky like a drunken kung-fu fighter. Very curious how the big two would go into battle upon the album field with each other, and finally their musical battle has let me shout "it's crazy great". Cannot realize what would come out at the next moment. Cannot help listening to this whole world with massive palpitation.

Anyway no title cannot be found out upon every single track but who cares? Guess this album might entirely consist of a 47 minute suite divide into 9 movements. Sounds like Ryoko's avantaholic saxophone vibe is a love rollercoaster upon a solid but dissected percussion wave launched by Rogier in every movement. There are three mysteries or marvelous phenomena - firstly Ryoko a ladylike lady plays so explosively (what a mismatched music theory), secondly improvisation-oriented saxophone play and flexible somewhat egoistic drums / percussion machine-gun can get unified with each other like nuclear fusion, and thirdly (just my tuppenny though) there might be kinda methodology under that the duo write a composition.

Apparently it's splendid they would create a variety of sound appearance and colourful orientation through only two instruments. Activity, believability, creativity, diversity, eccentricity ... are their ABCDE in this creation. And what do you say in the track 4 Ryoko? (LOL)

 200 000 by ZWOYLD album cover Studio Album, 2014
4.70 | 8 ratings

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200 000
Zwoyld Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars ZWOYLD is yet another strange zeuhl band that springs from France and contains all the usual Magma influences but branches out in many ways to include not only the expected jazz-rock side of things (however no brass on board) but also has a very spacey Rock In Opposition approach along with a healthy dose of avant-garde. The band was formed by Gilbert Brown who oversees the project but doesn't actually play any of the instruments. The actual band consists of five members who contribute the following instruments: drums, bass, guitar, mellotron, synthesizers, flute, sanza and jew's harp. As with much zeuhl this one is pretty much instrumental with the only vocals being delivered in chants which basically add another instrument without any linguistic connotations that i can understand anyways. The track titles seem to be in some invented language and the presentation brings to mind some ancient builder race of sort that visited and left the planet long ago.

The music clearly falls into the zeuhl camp with its pummeling hypnotic bass grooves and rhythmic developments but there is so much more going on here that separates the music from any Magma clone accusations for sure. Firstly there is a lot of attention paid to guitar here. There are not only rhythmic power chord sequences but lots of angular guitar riffs that bring an RIO / Avant Prog vibe to the forefront on many occasions. However it never really gets too weird. It flirts with the bizarre but always keeps the chunky bass lines accessible and the guitars even delve at times into funk territory. The tracks all have distinct personalities and the album flows very nicely with totally different arrangements taking place over the avant-prog meets zeuhl rhythms. There are also various world music influences such as Arabic, Indian and Klezmer.

Tracks like "Chań" really branch out into strange territories as the composition is quite complex with structured time sig changes that take a rather catchy melody and adds all kinds of freaky progressive touches. The track has the unique quality of making me feel like a zeuhl rhythm has been accompanied by a 60s psychedelic rock type of band. It's the kind of stuff that i always thought SHOULD have happened in the 60s but never really did. This music somehow captures an "i wish that woulda happened" vibe for me. It really works well too. Nothing feels forced in the least bit and progressive touches such as bizarre time sig freak outs structured around the choppy zeuhl rhythms somehow just kind of flow without the slightest of spoiling features. While mostly energetic "Chań" slows down half way through and creates a very psychedelic rock experience but picks up steam again. The album is mostly energetic but slow passages punctuate the frenetic energy as to create an always welcome diversity in mood.

This one is a welcome surprise. The music is as surreal as the album cover artwork but still entirely accessible upon first listen. In effect, the perfect balance between the known and unknown where alienation isn't even remotely possible but surprising combinations of sounds add a layer of excitement. What i'm finding is that the band really know how to capture that innovative zeitgeist of the early 70s yet not ripping any other artist off. Yes, the influences are tucked beneath the surface and all but is more than obfuscated by layers of creativity oozing out of every irregular jagged bass led sequence. Ever since Magma introduced the zeuhl style of music to the world decades ago, it has remained a viable sub genre that allows all types of complexities to be kept from going too far astray with the accessible rhythms at play. ZWOYLD continues with that tradition but manages to take the jazz- fusion and avant-prog levels a few notches higher with tons of psychedelic trippiness to put hardcore Grateful Dead fans into a coma! This is an instantly addictive album that has managed to blow me away! Great job, guys :)

 Aedividea by VAK album cover Studio Album, 2015
4.00 | 25 ratings

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Aedividea
Vak Zeuhl

Review by Warthur
Prog Reviewer

4 stars The album-length take on Aedividea by Vak consists of material orignally released on two separate EPs - a self-titled release from 2012 and the original "Aedividea" EP. Completists will be bugged by the absence of Reeht, from the Vak EP, an 8 minute track which there would have certainly been room for here, but as it stands I think the running time of this release is just about perfect to satisfy me without making my attention wander, so perhaps leaving it off was the right call. Musically speaking, Vak play zeuhl in a style heavily influenced by Eskaton (and Magma, of course, but everyone who does zeuhl is influenced by Magma) but with a markedly updated sound, especially when it comes to the keyboards.
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Zeuhl bands/artists list

Bands/Artists Country
ALTA¤S France
AMYGDALA Japan
ANAID France
ARCHAIA France
ARKHAM Belgium
BONDAGE FRUIT Japan
SERGE BRINGOLF France
CAILLOU France
CORIMA United States
DAIMONJI Japan
D▄N France
EIDER STELLAIRE France
ELEPHANT TOK France
ESKATON France
FRACTALE France
GA'AN United States
HAPPY FAMILY Japan
HONEYELK France
KAKUSENJO NO ONGAKU (BASE OF FICTION) Japan
KOENJIHYAKKEI Japan
LAGGER BLUES MACHINE Belgium
MAGMA France
MUSIQUE NOISE France
NEOM France
NOA France
OFFERING France
RYOKO ONO Japan
PAGANOTTI/PAGA GROUP France
PERCEPTION France
POTEMKINE France
PSEU France
RH┘N France
RIALZU France
RUINS Japan
RUNAWAY TOTEM Italy
SCHERZOO France
YOCHK'O SEFFER France
SEKKUTSU JEAN Japan
SETNA France
SHUB-NIGGURATH France
SUPER FREEGO France
LAURENT THIBAULT France
FRANăOIS THOLLOT France
JANNICK TOP France
UNIT WAIL France
UNIVERIA ZEKT France
UNIVERSAL TOTEM ORCHESTRA Italy
UPPSALA France
UTOPIC SPORADIC ORCHESTRA France
VAK France
CHRISTIAN VANDER France
VAULTS OF ZIN United States
VAZYTOUILLE France
WEIDORJE France
XING SA France
ZAO France
ZOIKHEM France
ZWOYLD France

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