WEIDORJE

Had you ever imagined travelling in time and witnessing a live Weidorje performance? Well, me neither, but thanks to the passion and love for zeuhl music from some Mexican people, now this is possible. So as far as I know, last year (2022) some restless minds decided to start a new project that would focus on underground music, mostly zeuhl and rock in opposition, so a new independent label was created, its name is Noizu Recordings and it is based in Mexico City, however, their inspiration comes mostly from other countries such as France, Belgium, Japan and of course, Kobaia.

The enthusiasm of these people reached the ears of former Magma member, Patrick Gauthier, who formed Weidorje back in 1977 along with bass maestro Bernard Paganotti. So yeah, as one can imagine there is plenty of unreleased material that bands have recorded during their whole careers, some of that material is sometimes thrown to a garbage bin, some other is simply forgotten, but fortunately, some of it its actually rescued from the ashes.

So Noizu Recordings through Gauthier's help and authorization, gave light to its first release ever: Weidorje - Live Toulon 1978, a live record from that features the songs included in Weidorje's debut and sadly only studio album, but that also features a couple of unreleased tracks: 'Urantia' and 'Weidorje'. So when I first heard about this it I was like a wtf, is this even possible?, but at the same time I was quite interested in listening to it.

This album features 7 songs and a total time of 70 minutes, over one hour of zeuhl ecstasy, of craziness, raw bass sounds, fast drums, multi-layered keyboards, hypnotic winds and of course, kobaian vocals.

Here we will find the three original Weidorje songs, I mean, the ones which were released in the LP and believe me, it is a blast to hear those songs performed live. Of course due to some techonolgy limitis from that era it is normal to find a some sound issues, we can notice it when the volume suddenly lowers a little bit, and fortunately it only happens a couple of times on the album. But the experience is quite amazing, first with the epic 'Elohim's Voyage', then with 'Booldemug' which is a song I love due to its non-stop energy and nervousness, it is contagious, the band transmit it since the first keyboard notes on this song, later with the bass, the amazing guitar and the winds. And of course we can enjoy to the extraordinary 'Vilna', which is the fourth track in this concert, a song that blows not only zeuhl lovers' minds, but also music (in general) lovers' minds.

The two extra tracks that were included in the Musea CD edition of Weidorje's debut are also featured here, though I believe there are not the same live versions, I believe these ones are different, a bit longer, if I'm not mistaken. 'Rondeau' has that jazzy essence that Magma and several zeuhl bands have, a jazzy touch that is blended with prog rock in order to make that unique zeuhl sound. And 'Kolinda' which is a strange trck that has even some quiet moments, but then a raw bass solo, some guitar, drums and keyboard crazinesss.

The aggregated value of this record is that the last two tracks were unreleased prior to this album, so kudos to Gauthier, the Weidorje family and of course, to Noizu Recordings for rescuing and releasing them. First we can enjoy 'Urantia', a 14-minute track whose first seconds sound like the sountrack for a horror movie, the synthesizer and the bass together create tension, but it is contrasted by winds first, and later drums and vocals join so a new zeuhl episode is beginning. You have to listen to it. And the album finishes with the another unreleased track, which happens to be named after the band: 'Weidorje', and surprisingly enough it lasts only for over a minute, so it basically works as an ending, however, I think its original performance lasts longer, but for recording issues it stays at one minute.

This release might now be a must for those who love zeuhl music, and yeah, a great addition to any prog rock music collection.

Enjoy it!

Hands down, my favorite Zeuhl album. Funky, fun, groovy, and horrifyingly beautiful, this album is a wild ride for any lover of prog, but it is very complex and inaccessible. To Me, there is nothing wrong with this album. The CD bonus tracks are nothing short of amazing, the the main album has two Zeuhl masterpieces on it: the first and second tracks. Elohims Voage is a journey through space and time, categorized by existentially groovy instrumental sections and lovely Zeuhl vocals that give the album a little extra dab of charm. 'Vilna' is borderline fusion, with an eclectic mix of everything from Acupuncture to Ziggy Stardust. Finally, the closing track, 'Booldemug', is arguably the most spacious and mellow song on the album, and is an odd mix of King Crimson and Gentle Giant, digging down to every definition in the prog dictionary until its eyes hurt. This album is a masterpiece within the Zeuhl genre, eclectic and experimental enough for any proghead to enjoy. Prog on.

I think that the base of the album and what gives consistency to the three songs so that they never falter is the saxophone/trumpet duo. These guys really know how to do the dirty work! Despite going a little unnoticed at times, they really elevate the album and what it is trying to achieve. The darkness that stars the concept of the album is even amusing in how frenetic these 36 minutes are. The central instrument of the album is undoubtedly the keyboard, handled by two beasts: Patrick Gauthier (ex Magma 1975-1976 era Udu Wudu) and Jean-Phillipe Goude (recently appeared keyboardist known for composing the Frankenstein's soundtrack for Philippe Adrien's version at the Théâtre de la Roquette). Explaining the origins of these two masters, one can understand their creepy style when it comes to displaying their technique. Guitarist Michel Ettori does an excellent job, especially in the last song: this dominant force can be attributed to his virtuosity. The ephemeral scat vocals on the first song "Elohim's Voyage" belong to trumpeter Yvon Guillard and bassist Bernard Paganotti. That bass thumps up and down!

The fuzz-bass is a characteristic element of Zeuhl, and for anyone not yet familiar with it, the excellent distorted bass on this album will help your introduction process. Combined with the others, the wind instruments give a certain medieval aspect to the album that mesmerises.

In short, everything here is precise, wonderful and surprising. My favourite part of the album is the second song "Vilna". It is an entertaining piece throughout and serves as a beam to sustain the suspense of the album and at the same time connect the next song to come called "Booldemug", which changes the energy of the album by transmuting it into a Jazz-Fusion style.

According to Zeuhl definition on Progarchives, Zeuhl is an adjective in Kobaian, the language written by Christian Vander, drummer and founder of the French band Magma. But, Zeuhl is much more complex to define. In reality, Zeuhl is a much elaborated prog genre. Zehul is a kind of a combination of some strong repetitive bass lines, loose and wild drumming, a sense of improv and fevered chanting in a made up language. In the loose sense, maybe we could describe Zeuhl as an offshoot of prog rock, a little jazzier and a lot wackier, with a less structure and a more spirituality.

When considering the legacy of Magma, one must recognize the huge impact they left behind. Many of France's best musicians were once members, or associates of members, or somehow were touched by their influence. Thus, their pervasive effect on the French scene cannot be understated. After Magma, it would never be quite the same again.

But, as many of we know, Magma was never a very stable band, turning around most of their line up on what seemed like a yearly basis. A lot of this had to do with Christian Vander constantly moving the band's goalposts. In 1976, their fifth studio album, "Udu Wudu", went in a direction that was more fusiony and bass-heavy, and just like that, Vander decided to turn the band into some kind of alien funk outfit. Thus, two members of the band, Bernard Paganotti (bass) and Patrick Gauthier (keys), decided to split off and continue in that direction themselves. So, Weidorje was born. But, unfortunately, Weidorje only released a single album, their self-titled album. For some people, "Weidorje" would be a follower to "Udu Wudu". Though it's based of Magma's sound, I really think "Weidorje" is a better album than that one.

"Weidorje" is certainly a treat for all Magma's fans. Essentially, the album sounds like Magma, especially in the "Udu Wudu" phase. The music is mostly instrumental and the voices that are present are mainly scat, leaving our ears free to listen to the wonderful music being played. The really exciting factor about Zeuhl is the fuzz-bass. Bernard Paganotti is a master of that style. So, naturally, when I first heard this album, I was immediately struck by the thumping bass. But, there's more on "Weidorje" than just the fuzz-bass. Another former Magma personality is present on this album, Patrick Gauthier. He and Jean-Philippe Goude add some very dark and gloomy polyrhythmic sounds which add a superb atmosphere and rhythm, as does Michel Ettori on guitar that plays along with Paganotti's bass lines in many places.

Side one is encompassed by "Elohim's Voyage". Its title is the Hebrew word for "Gods". From the beginning, there's no doubt about the connection to Magma. It starts with a crunching bass sound but soon the keyboards add a chilling touch. The main rhythmic charge then begins, with the aforementioned scat vocals, the slowly increasing heavier drumming and then the guitar. This assault continues on throughout the sixteen minutes but with added surprises, such as the avant-garde saxophone. Approaching the halfway mark, the band is in full flow and, then, everything slows down once more, yet the track keeps together solidly. With four minutes to go, the tune reprises with trumpet and saxophone accompaniment. This reflects the classic Magma, but feels darker and more disturbing. It's a strong track to start the proceedings. "Vilna" named after the Lithuanian city, is a highlight. It's the strongest track on the album, beginning with a catchy keyboard riff that leads on until the bass. "Vilna" isn't as heavy as "Elohim's Voyage", yet is just as catchy, continuing on in true Zeuhl style with a relentlessness of rhythmic sound. "Booldemug" is a softer track. It's jazzier than the previous tracks, featuring much more saxophone and guitar and is a welcome break from what has gone before, making the band sound more diverse than we initially expected. It's here when we realise how much the keyboards dominate "Weidorje" sound without overwhelming all the rest. Ettori also unleashes his guitar skills here.

The 2008 reissue of "Weidorje" contains a couple of live tracks, presumably of pieces of what was to become their second studio album. The music itself is also great, even though it's too poorly recorded. But, what it's true is that they never got the chance to release them in studio properly. But, we were in 1978, a bad year to playing this kind of music.

Conclusion: Despite the use of catchy rhythms, "Weidorje" never get dull or boring, continuously and subtly changing things. The changes are often so subtle that you don't notice them. It's perhaps a lot more palatable than Magma tends to be. All of these tunes tend to hold onto their grooves, rather than constantly moving around, which I suppose is the result of having a bassist writing the music rather than a drummer. "Weidorje" is a great introduction to the genre, as I think it shows of what Zeuhl is capable. Though the group floundered out of the gate, the album was at least well known enough to get two CD reissues. This is a gem of an album and is an essential release for those who have discovered Magma, or who want to discover Magma in the future and a great introductory level album, if not the easiest of listens. If you're a great fan of Magma, this is a must hear. This is a brilliant avant-garde rock album and it's highly recommended.

Prog is my Ferrari. Jem Godfrey (Frost*)

The side-long suite Elohim's voyage starts off with an alien sounding intro, perhaps an abduction by the UFO on the album cover. Zeuhl-style scat vocals join in, alongside a great slow head-nodder of a bassline and backed up by slowly increasing metronomic drumming. Guitars, keys and saxophone all chip in to add a bit of variety to this before the bassline shifts rhythm slightly around the 7 minute mark, fading away and returning with a crescendo of trumpet, keys and guitars, with a chorus of vocals adding an eerie feel a couple of minutes later. On 12 minutes, the bass disappears entirely, and its the brass and keys that lead the line - very reminiscent of Magma at this point.

Vilna is very much in the same style, although starting with a catchy keyboard riff that features throughout - the bass is just as heavy and driving of the track, but there is a bit more variety in the rhythms. A particular highlight is on 8 minutes with the trumpet and sax riffing over a repetitive rollicking drum/bass that picks up the pace beat by beat and continues right to the end of the track with some vocal accompaniment too.

Booldemug is a shorter track (still 7 minutes though!), and is much jazzier, and a little more upbeat. The interplay between the brass instruments and keyboard are excellent.

The two live tracks are obviouosly slightly lower quality, particularly a shame for Rondeau where the bass is not as strong. Kolinda though is a great track that is quite similar to the two longer album tracks.

Painfully close to a 4* album this, although the main tracks being quite similar to each other keep it at 3 for me

Elohim's Voyage greets us as the album kicks off. It begins with a spacey keyboard melody similar that reminds me of Star Trek in a way. With the entrance of the drums laying down a beat that remains mostly unchanged for the majority of the track. It is followed by the bass, cranking out a throbbing dose of fuzziness with a rhythm that compliments the drum beat excellently. The band presents a melodic vocals using hey, ah, and oh sounds rather than actual lyrics, unlike Magma's highly technical Kobaian lyrics. Because of this the vocal parts are generally accompanied by a excellent blend of brass, sax, keyboard, and/or guitar parts playing the same melody. The resulting cooperation of instruments and vocals really helps to portray the concept of the "voyage"; with moods ranging from the mysterious at the start, celebratory fanfare as what I would presume to be the Elohim's voyage, to the ominous middle passage I refer to as the voyage itself. Their ability to convey emotion through their playing allows the listener to easily put together the story behind this song without having to say a word, a quality that will delight those listeners possessing a strong imagination.

Vilna is a departure from the catchy melodies and imagery heard on Elohim's Voyage. Vila is a jazzier track with a heavier emphasis on instrumental composition than what we heard in Elohim. You're introduced to the track with a keyboard solo right off the bat. After the keyboards lead the listener the saxes soon make their entrance with some jazzy repetition. The keyboards maintain dominance for most of the early portion of the track, but as it goes on the winds push them to the background. Vocals are seldom seen in this track, as the band has opted for more of a jazzy instrumental than a melodic style for this track. Because of this, the instrumentation is much tighter than on Elohim. This track is a prime example of Weidorje's exploration into the instrumental side of Zeuhl, something rarely done by other Zeuhl bands.

Booldemug continues the instrumental style from Vilna. But unlike Vilna, Booldemug has a more melodic focus than jazzy sound of the previous track. This is probably the most focused track found on the record. As the shortest track on the album, the band gives themselves less room for experimentation. Resulting in an almost symphonic level of meshing between each instrument as they build a single melody together, as opposed to the musical brawl heard in Vilna. The song itself is a very strong instrumental, with great musicianship and plenty of melody; a satisfying finish to this album.

For any fan of Zeuhl music or if you're looking for looking for something in the same vein as Üdü Ẁüdü, then Weidorje is the album for you. After listening to it, it's clear to see why many here consider it to be one of the strongest albums of the Zeuhl genre, and I have to agree with that. Very few Zeuhl albums pull of melodicism like this with this strong of a performance. But this is only my opinion, so go give it a listen for yourself and see if Weidorje really does live up to the hype!

1. "Elohim's Voyage" (16:33) seems to plod along at one fairly straightforward speed with one fairly simple and, eventually, obnoxious bass sound and riff. A solid but grossly under-developed Zeuhl song. (8.5/10)

2. "Vilna" (12:20) Every time I hear this song's opening I have to check to make sure I didn't push repeat 'cuz it sounds so much like the album's first song to me. By the end of the first minute I'm relieved as I recognize a new direction the band is exploring. But, unfortunately, the same plodding tempo is used. In the third minute we finally get some of the dark, heaviness that one comes to expect from the Zeuhl sub-genre, but it is short-lived. Then the bass player gets stuck in the fifth minute and can't seem to get out of his rut for the longest time. If the soli over the top were more exciting or even interesting then this might not be a problem but when you're bored with the melodies and treble artists, the bass and rhythm sections get picked apart. Finally, at the eight minute mark, the band gets something going that's exciting! Horns and fast-paced minimalist Steve-Reichian foundation that starts speeding up, carrying us into the frenzied state that we come to know and expect from Magma and its imitators. Even a decent ending! Yay! (9/10)

3. "Booldemug" (7:10) opening with a 'big' sound--everybody engaged and firing up their instruments to the max--I find myself enjoying and appreciating the collective weave and individual instrumentalists for the first time on the album. Love the frenzy all-out attahk of the sixth minute! This is what I'm talking about! Great music. (9.5/10)

Maybe Side One was just their practice/warm up.

I absolutely love this album as much as anything MAGMA has done. 'Elohim's Voyage' is absolutely fantastic as it sets a scary atmosphere that takes you into the space of the alien realm and then ratchets its way up the musical ladder until the full zeuhl frenzy takes flight. 'Vilna" follows suit and continues the repetitive rhythms with lots of interesting influences added. The first two tracks are the longest but it's the third shorter track 'Booldemug' that just blows me away. It's just so....wonderful!

The bonus tracks on the CD are quite excellent live tracks that aren't just a repeat of the original albums three long tracks. It's funny because the music is absolutely spectacular and you'll hear at times a single person clapping as if they are playing to a room full of a handful of people at the most. The woes of playing complex prog in the late 70s when everyone was at a Dead Kennedys concert!

"Elohim's Voyage" The star of this psychedelic journey is Bernard Paganotti's fuzzy, flatulent bass. He develops a variety of grooves over which the more Zeuhl elements can hover. The singers are distant and foreboding, matched with lighter instrumentation. "Elohim's Voyage" ("Elohim" being the Hebrew word for God) crafts several builds that taper off into something different each time. It is a satisfying piece with plenty of substance.

"Vilna" Electric piano trickles in. As the piece gains intensity, a violin-like tone paints over the music. An adventurous trumpet bursts through as the tempo increases to a breakneck pace.

"Booldeug" The third and final piece has a fuller sound immediately, but an ethereal 1980s vibe sets in. This is the smoothest and jazziest cut. There is also a measure of symphonic style present, especially right before and during the wild synthesizer solo. The sudden appearance of the electric guitar is an invigorating surprise.