KÃRTËHL

Kãrtëhl is a new 14th Magma release. For those who don't know or are new to the music of this legendary band, Magma is a french group, whose leader(drummer/vocalist and the main composer behind the music of Magma) Christian Vander is regarded as the creator of Zeuhl genre. Zeuhl music is characterised by marching themes, throbbing bass, an ethereal piano or Rhodes piano, and brass instruments. The singing in Magma is in Kobaian - constructed language as the lyrical medium. Magma experienced a lot of lineup changes. The main differences between the previous record (Zess) and this one include an addition of Thierry Eliez on keys, piano and Jimmy Top (a son of another bassist Jannick Top) on bass instead of Philippe Bussonnet. Now we get to the music. The overall depicted feel of Kãrtëhl seems lighter, brighter and more jazzy in comparison to previous Magma works. Not to all though, - there are some similarities with Merci and Félicité Thösz in general atmosphere on these compositions, I would say. The structural complexity in writing is present (although it isn't as prominent as in K.A. or Ëmëhntëhtt-Ré, for example) but I do think this record is more accessible and easy to get into for Zeuhl newbies in comparison to several previous releases. Production feels great.

1. Hakëhn Deïs (7:12) starts off this album in a whirly melodic fashion. The happiness is present in some sections. The vocal melody reminds of the one in 'The Night We Died'. A good start. (8/10)

2. Do Rïn Ïlï Üss (4:38) begins very quietly, like the percussion here. Chime is a great touch. This composition has multiple vocal lines: the lead one and back vox, both are very interesting sounding. Like vocal-keys interplay. This track also contains some darker sounding passage after 3:30, very cool. (7/10)

3. Irena Balladina (5:13) starts like 'Kobaia' from the debut album, has a jazzy feel to it, with lead vocal (by Stella Vander) and guitar lead melody. Quite exalted sounding, happy zeuhl. (7,5/10)

4. Walömëhnd Ëm Warreï (7:37) is a contrast. Enigmatic intro. Mysterious sounding is present in the vocals and the instrumental sections, which repeat multiple times. An epic composition. (8,5/10)

5. Wïï Mëlëhn Tü (8:56) Weird vocal expressions in the beginning. Mild instrumentation with somewhat strict vocal deliverance by Herve follows. Then we get tender vocal section by Stella. Sparse instrumentation with different vocal lines (including Christian's). Some of the sections are quite catchy. (7/10)

6. Dëhndë (6:55) is very happy and seems more jazz then zeuhl to me. Christian does the main singing here with an occasional melodic b/vox by Stella Vander, Hervé Aknin, Isabelle Feuillebois, Sylvie Fisichella, Caroline Indjein and Laura Guarrato. We get a laid back instrumentation here. The sections are repeated several times. A nice happy ending to this album. (7,5/10)

The bonus material contains early takes, stripped-down versions of the first and the last tracks of the main album. This is more of a historical document, really. Very fun vocal parts by Christian and Rene Garber.

Kãrtëhl showcases great melodic vocal work by all of the vocalists here, melodic guitar passages and keyboard/piano-rich compositions with a strong rhythm section, very tight musicianship. Even if I am not really a fan of the happy side of zeuhl (I just love Ëmëhntëhtt-Ré- and 'De futura'-like dark sounding), I do feel this is an excellent addition to any prog rock music collection. Well done, Magma!

Its hard to believe that it's been well over a half century since Christian Vander launched his MAGMA project which not only put France on the progressive rock map but also succeeded in forging an entirely new subgenre of prog called zeuhl. Add to that the mythos that has been embedded in each release that reveals the akashic records of the (supposedly) fictional planet called Kobaia. It's fair to say that MAGMA is more of a collective project of Christian Vander with dozens of talented musicians and vocalists coming and going throughout the decades but one thing is for sure and that is that MAGMA is a living legend with no signs of packing up and calling it quits anytime soon.

KÃRTËHL is the latest release out by this unique musical collaborative following the rather interesting developments of 2019's "Zess" which solicited the symphonic majesty of the Prague Philharmonic Orchestra. "Zess" was an interesting experiment indeed but not the kind many of the fans were hoping to be repeated. Luckily that is the case with KÃRTËHL and MAGMA picks up its true and tried musicality which more or less has taken form albeit with myriad improvisations since the early 1970s. On board are the usual suspects of Christian and Stella Vander as well as the longtime vocalist Isabelle Feuillebois and on again / off again keyboardist Simon Goubert but for the most part this is a new cast of talented musicians and vocalists delivering a new era of what the MAGMA experience is all about.

While MAGMA's discography varies greatly in how each album is presented, generally speaking the formula is pretty much the same. Stentorian choral sections heralding a new chapter of Kobaian history in undecipherable linguistic performances accompanied by circular grooves, thundering bass lines and subtle hypnotic underpinnings. Well in that regard nothing has really changed in camp MAGMA with all of the suspected musical accoutrements well established long ago firmly in place to make this like many before, a bonafide MAGMA experience however this particular album takes things a bit more into the accessible areas of jazz-funk and soul jazz which basically means that the usual alienating effects of the MAGMA universe have been tamed for a lighter even happier approach.

Basically KÃRTËHL features six new tracks and two bonus tracks mined from the 1978 recording sessions which would put the timeline firmly in the era of "Attahk" which is about the time Vander eschewed the hardcore Kobaian alienation for a somewhat more accessible sound that incorporated an easy on the ears funk groove, an idea that was carried to full fruition with 1985's nadir of the band's career "Merci." The two final bonus tracks "Hakëhn Deïs" and "Dëhndë" may be represented as mere demos but after multiple spins it's more apparent that they serve as the primary inspiration for KÃRTËHL which determined the direction of this album's mood setting. It goes without saying that this album is much more like "Merci" and other more accessible MAGMA moments than pretty much all of the other albums of the band's canon and for those of us who love the alienating darkness of albums like "Mekanïk Destruktïw Kommandöh" or "K.A." then we are left finding KÃRTËHL being a little too tame for its own good.

In addition to a lighter vibe there's an impending sense of been-there done-that going on with KÃRTËHL as well which is a bit off-putting. The first three tracks are competent and even pleasant but a bit too happy for their own good. For my ears the album only becomes interesting with the fourth track "Ẁalömëhndʌëm Ẁarreï" where the melodies are more sophisticated, the hypnotic alienation is revisited and the band seems firing on all pistons therefore half the album is excellent and half a bit watered down. Granted there are no unpleasant moments on KÃRTËHL but the disjointed nature of the first three tracks and the following is a bit of a let down.

It goes without saying that MAGMA are masters in the prog world and seem utterly incapable of releasing an absolutely awful album but i also have to say that this is my least likable album since 1985's "Merci." The quality control is simply off on this one and it sounds more like a compilation of various tracks rather than a bonafide album experience which unfortunately for better or for worse is what we have come to expect from a fully-fledged MAGMA studio album experience. For any true fans this is certainly not an album to avoid as it features all those beautiful MAGMA-fied melodies in full splendor however it also fails to take the MAGMA saga into a new chapter of Kobaian mythology which is where true MAGMA fans really want to go. Yeah a tad disappointed and i doubt this will be anyone's favorite album from the band but as far as bumps in the road go, even a mediocre MAGMA album is lightyears ahead of what many bands can muster up.

3.5 stars but given MAGMA is a cornerstone of zeuhl i cannot in good conscious round up for this pillar bamd of classic prog

Magma returns with a new studio album and a frustrating set of diacritics that make writing about this album in Google Docs a hassle. K​ã​rt​ë​hl follows 2019's Zëss, the conclusion of the Kobaïa mythos, so I have no idea where (or if) this fits into the story of the Kobaïans. (For more on that, check out my Magma Deep Dive!)

Where Zëss ended things on a bit of a somber note, K​ã​rt​ë​hl has a noticeably sunnier disposition. It's distinct from Félicité Thösz, but it shares that same general uplifting hopefulness. Magma has always been good at conveying emotion, whether it be the doom-and-gloom of "De Futura" or the celebratory warmth of "Öhst".

Upbeat, jazzy piano, bass, and vocals open up "Hakëhn Deïs", and this is evocative of the mellower moments of Attahk. There are some little moments where guitar gets some time in the foreground, and that bit of crunchiness is much appreciated. One of my biggest gripes about Zëss was that it was texturally soupy. The songwriting on this track is strong, overall. It's rather fun, bouncy, and does a good job of engaging the listener. 

Philippe Boussonnet, Magma's bassist for nearly 20 years, is no longer with the band. However, his replacement is Jimmy Top, son of on-and-off Magma bassist Jannick Top. The younger Top does a great job here. He's flashy and skillful without being distracting, and he fits right into the legacy of Magma being one of the most bass-forward rock bands this side of Primus.

"Do Rïn Ïlï Üss" opens a bit more slowly, with chimes and enveloping vocal arrangements. As the song picks up momentum, the backbone remains strongly rooted in jazz. The rhythm and melody jump all over the place, but Vander's masterful drumming keeps everything in line. This song has a bit of a darker edge to it than the opener, but it's still pretty light by Magma standards.

The opening of "Irena Balladina" is the mellowest moment yet. The preceding cuts may have been relatively warm and hopeful, but this cut has a more relaxed air to it. This song also feels a bit aimless, though. A lot of it comes off as just vague jazz noodling.

The mood is a bit more ominous on "Walömëhnd Ëm Warreï", which has eerie, ascending vocals over clattering drums. The choir has a haunting effect at the start of the verse. The vocals are doom-laden and oppressive. Top and guitarist Rudy Blas weave together an anxious, jumpy backing for Stella Vander and her other vocalists. This song has a weighty atmosphere without being overwhelming.

Odd, squealing, gibbering vocals kick off "Wiï Mëlëhn Tü", along with heavy piano chords and wiry, buzzing guitar notes. The melody is unusual, and Magma channels their often-ritualistic tendencies here. It's spooky and very interesting. As the song nears its end, the mood converges with K​ã​rt​ë​hl's earlier sunniness for a satisfying climax.

K​ã​rt​ë​hl closes on "Dëhndë". This is another song with strong echoes of Attahk, while also being among the most positive-sounding cuts on the album. It's a shockingly accessible song from this band; if it weren't for the Kobaïan lyrics, this would probably appeal to a lot of mainstream rock fans. It goes on for maybe a minute longer than it needs to, but it's still a fun cut on the whole.

Magma's latest release is a respectable addition to their discography. It's actually slightly better than what I was expecting, based on the reviews I had read. It's one of the band's lighter, happier pieces, and it shares a lot of DNA with their late 1970s output. If you're a Magma fan, you will likely enjoy this album.

Review originally posted here: theeliteextremophile.com/2022/12/05/album-review-magma-kartehl/

I have enjoyed listening to this album so much this past week. I connected with it right away despite it being vocal heavy along with that optimistic and joyful vibe throughout. It comes as advertised and I'm just surprised at how much I like this. I found it interesting that they released the dark and intense "Emehntehtt-Re" in 2009 and three years later followed it up with the joyful and optimistic "Felicite Thosz" in 2012. In 2019 they release the dark "Zess" and three years later in 2022 release this one the happy "Kartehl".

There's a beautiful tribute from Christian Vander in the liner notes to his old departed friend Rene Garber who passed in 2015. He mentions about thinking of him a lot during these recordings but also how his presence inspired him. "You were always there close to me, breathing energy, inspiration and spirit into me... and into every bar of MAGMA's music."

The one song on here that keeps me from rating this higher than 4 stars is the commercial sounding closer "Dehnde" and it's from 1978 originally sung by Garber while he also played piano and that demo is a bonus track on here. Here Christian sings and in his tribute he mentions this hoping his old friend will like it. The first time I heard it I was actually mad because it's the closer and it's the most commercial sounding MAGMA song I've ever heard. I don't mind it now but it sticks out like a sore thumb when compared to the rest. And I don't want to be too critical as proceeds of this song go to "Fondation Initiative Autisme" to quote the liner notes.

I am such a fan of wordless vocals and that's really the appeal for me here along with Vander's still powerful drumming skills. The drums sound so good, so crisp as he hits them with authority. an eleven piece band here with Bussonnet getting the boot apparently and Jimmy Top taking the bass role. Son of Jannick. I like when I hear him he's got a growly tone but the seems to go missing for long periods. Great to have Simon Goubert here on keyboards along with Thierry Eliez who does the same.

Goubert composed my favourite track on here called "Wii Melehn Tu". I especially like the start with those strange vocal sounds. Like fast-paced gibberish really but it's so cool sounding. Love when the drums and electric piano come in as it builds. I'ma fan of all of these songs really but I also really like "Walomehndem Warrei" a lot. At first the music swells and falls back until dark piano lines arrive along with wordless vocals then drums to the fore. I like the bass 2 minutes in and the overall sound after 3 minutes. Such a great track. Oh and the bass dominates after 6 minutes.

And while we get a lot of vocals on this record we also get plenty of incredible instrumental work to balance things. This is a solid 4 stars for me despite the questionable closer. There's a really nice picture of the band but I'm not sure who the kid is at the back, oh that's Jimmy! Did I mention Stella Vander produced this album?