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Magma - Mekanïk Destruktïw Kommandöh [.M.D.K.] (1973)

Genre: Avantgarde Progressive Rock, Zeuhl

As I stated in the 1001 Degrees Centigrades post, like bookends, Magma's career started in the brilliant side of strange, wandered into the oppressive for a few years, then came full circle to the brilliant again. Now that I have introduced their more accessible (and in my opinion superior) albums, I thought I would come along and show the album that started their more strange period. Mind you, this is INTENSE listening. Not for the faint of heart or those of a closed mind. Magma were a band that not only strayed from convention, but wandered completely to another planet from convention entirely. Here is a short BIO taken from Buy Book at Lowest Price on Amazon

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Led by classically-trained drummer Christian Vander, Magma helped to create a whole genre of music (nicknamed "Zeuhl" after the unique Magma language). Their music combined elements of jazz, opera, minimalism and 20th century classical music, yet emotionally rich and undeniably powerful sound that eventually brought on the Zeuhl sub-genre of progressive rock. Incredible and intense! This band was as a real source for many French musicians. Some players were more influential than others, but with each change in personnel came a slight change in the sound of the band.

Magma is one of the most influential European bands since the early 70's and has recorded not a good record but several FANTASTIC albums. They are a concept band whose albums explain the origins and development of the new civilization on Kobaia, and their interactions with the people of Earth and other planets.

Review by Bob Eichler @ :

This is a fantastic album, and one of the most intense things I've ever heard. There is a lot of minimalist repetition, but whereas many prog bands just use repetition to pad things out, Magma uses it to gradually increase tension until the listener is dying for some resolution. And with the layers of things going on in this album, if one repetitive part bothers you there's usually several other things going on that you can switch your attention to.

While I don't think Magma really deserve the reputation they have for being room-clearing music, there are some aspects that would likely drive fans of "safe" prog away screaming. The fact that the band sings in their own invented language probably scares away those who listen to prog mainly for the "deep" lyrics. But Magma's vocals are used mostly to add another level of repetition and melody to the music. Don't listen to what they're saying, listen to how they sound. Still, even those who can get into the sound of the vocals might be put off by high-pitched wailing that goes on in parts of the album. To be honest, I could live without that myself.

Still, this is one of the most satisfying discs I've heard in a long time. The horn section really adds an air of drama, and the whole thing flows along as one big composition (something that many prog bands try to do, but few do this well), setting out themes and then developing them for all they're worth. If you're like me and end up slowly cranking the volume throughout the disc, beware of the high-pitched feedback tone at the very end of the album. It'll kill your eardrums.

Review by Joe McGlinchey @ :

This is probably all in all the highest-profile Magma work, and this particular incarnation (of which there are many) of the composition breaks out with the full 'rock orchestra' treatment for 40 minutes of guaranteed, trance-inducing Zeuhl. Christian Vander cites John Coltrane's "My Favorite Things" (the song, I believe, not the whole album) as one of the main influences for the emergence of this music, with an emulation of the 'infinite variations within repetition' idea on Coltrane's arrangement. But don't expect upbeat jazz when you pop this baby in the CD player. It's more on the symphonic and operatic side of the Magma spectrum. Again, the ending here musically conveys the 'spiritual quest' theme found in many of the best prog rock works, as the oppressive, sulfuric D-minor chords that defined the work throughout transform in the last few minutes to a soothing, spiritual D-major processional. Caveats for this one: some may just not like the repetition of the piece in general, Vander's drums are mixed too low in this particular recording (especially during the climax), and live versions of this song are generally...well, livelier. Still, if you want to hear a progressive rock classic, this might just be the best place to start.

Review by Joey Kelley @ :

MDK is an album that is perhaps one of the most pretentious works I have, yet, the majority of this still works. Combining elements of tribal drums, operatic vocals, with large doses of jazz, and an even larger dose of mere creativity. To say this album is interesting is an understatement.

The first track is one I am instantly drawn to, as it reminds me of a battle theme from Lord of the Rings, it would fit perfectly with it. When the horns come in at 2:20, I feel the power in myself that the music has. The speed picks up with the 2nd track, with a symphony like atmosphere with lots of repetition and a thundering background.

Vocals are the name of the game with this album. Always dramatic and full of meaning, even if you don't necessarily understand that meaning. That being said, the repetition can be a bit much at times. The first half of the album is better than the second. Still, one of the most creative and interesting albums I own.

Tracklisting:

1. Hortz Fur Dëhn Stekëhn West (9:34)

2. Ïma Sürï Dondaï (4:28)

3. Kobaïa Is De Hündïn (3:35)

4. Da Zeuhl Wortz Mekanïk (7:48)

5. Nebëhr Gudahtt (6:00)

6. (4:08) (Click song to hear sample)

7. Kreühn Köhrmahn Iss De Hündïn (3:14)

Total Time: 38:47

Line-Up:

- Christian Vander / drums, vocals, organ, percussion

- Jannik Top / bass

- Klaus Blasquiz / vocals, percussion

- Jean-Luc Manderlier / piano, organ

- René Garber / bass clarinet, vocals

- Claude Olmos / guitar

- Stella Vander / choir organik Kommandeuhr

- Muriel Streisfeld, Evelyn Razymovski, Michele Saulnier, Doris Reihnardt, Stella Vander / choir

- Teddy Lasry / brass organik Kommandeuhr, flute

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Mekanïk Destruktïw Kommandöh

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Rating:
2.5 out of 5 by Book123