Magma (band)
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| - | '''Celluloid Records''', a [[France|French]]/[[United States|American]] [[record label]], operated from [[1976 in music|1976]] to [[1989 in music|1989]] in [[New York]], and produced a series of eclectic and ground-breaking releases, particularly in the early to late [[1980 in music|1980´s]], largely under the auspices of de facto in-house producer [[Bill Laswell]]. | + | :''[[progressive rock]], [[French rock]]'' |
| + | '''Magma''' is a [[French progressive rock]] band founded in [[Paris]] in 1969 by classically-trained drummer [[Christian Vander (musician)|Christian Vander]], who claimed as his inspiration a "vision of humanity's spiritual and ecological future" that profoundly disturbed him. In the course of their first album, the band tells the story of a group of people fleeing a doomed Earth to settle on the planet Kobaïa. Later, conflict arises when the Kobaïans — descendants of the original colonists — encounter other Earth refugees. A remarkable aspect of Magma's albums is that Vander actually invented a [[constructed language]], Kobaïan, in which most lyrics are sung. Later albums told different stories set in more ancient times; however the Kobaïan language remained an integral part of the music. | ||
| - | Label founder Jean Karakos had previously run a chain of record shops in [[France]] (under the name Jean Georgakarakos) with partner Jean-Luc Young. In [[1967 in music|1967]], the pair formed [[jazz]] record label [[BYG Actuel]], which collapsed in the mid-70s. Karakos also produced albums such as [[Sonny Sharrock]]'s “[[Monkie-Pockie Boo]]”, and managed acts such as [[Gong (band)|Gong]] and [[Magma (band)|Magma]]. | + | Considered by many to be musically adventurous and imaginative, Magma makes extensive use of the [[choral]] format, their album ''Mekanïk Destruktïw Kommandöh'' being particularly reminiscent of the classical composer [[Carl Orff]], while ''Ẁurdah Ïtah'' reveals connections to [[Béla Bartók]]'s piano music and "Les Noces" by the Russian master [[Igor Stravinsky]]. Work by Magma is also highly influenced by [[jazz]] [[saxophone]] player [[John Coltrane]]. |
| - | Celluloid began by releasing American no-wave and French avant-garde pop by artists such as [[Métal Urbain]] (who were signed to [[London]]'s [[Rough Trade Records]] in the [[UK]]), Mathematiques Modernes, [[James Chance]] and [[Alan Vega]]. It also licensed tracks from other artists and labels, (with varying degrees of legality, according to some, notably [[Throbbing Gristle]]), releasing tracks by [[Soft Cell]], The Names, [[Cabaret Voltaire (band)|Cabaret Voltaire]] and [[Tuxedomoon]] among others. In the early eighties, Celluloid had a business relationship with Michael Zilkha and Michael Esteban's [[Ze Records]]; artists including [[Was (Not Was)]], [[Alan Vega]], Suicide and [[Lydia Lunch]] released tracks on both labels, sometimes simultaneously, and at least one LP (Vega's eponymous debut) was released with both Celluloid and Ze logos on the sleeve! | + | So many musicians played with Magma over the years, who then went on to form their own solo projects and/or spinoff acts, that the Kobaian term [[Zeuhl]] came to refer to the style of these bands and the French [[jazz fusion]]/[[symphonic rock]] scene that grew around them. Beyond [[Christian Vander (musician)|Christian Vander]], the drummer/composer, the most well-known of the old Magma lineup was probably [[Jannick Top]], the bassist/co-composer. |
| - | However, by [[1982 in music|1982]] their catalogue had expanded to encompass early hip-hop artists such as B-Side, [[Fab 5 Freddy]], Grandmixer D. St., Phase II and Tribe 2. Much of the [[hip-hop]] projects was produced by the group [[Material (band)|Material]], who had already recorded a number of sides for Celluloid, and whose prime mover Bill Laswell would play an increasing role in the label's fortunes for the next five years. Celluloid also released an album of "Futuristic Funk" by [[Punk rock|punk]]/[[funk]] performer and cyberpunk writer [[John Shirley]], "John Shirley's Obsession", featuring guitarist Sync66 (Chris Cunningham) and Bassist Jerry Antonias (aka Jerry Agony) both of whom also played with James Chance (aka James White). | + | While Magma's recordings remain relatively hard to find, Christian Vander and Jannick Top together keep Magma's back catalog in print on CD. |
| - | Increasingly sought out to produce artists on major labels (such as [[Nona Hendryx]], [[Yellowman]] and [[Herbie Hancock]], for whom he produced the Grammy-winning “[[Rockit]]”), Laswell still found time to produce and play on Celluloid albums by [[Massacre (Fred Frith band)|Massacre]] (a power trio comprised of Laswell, [[Fred Frith]] and [[Fred Maher]]) and his own group Material (whose “One Down” of [[1983 in music|1983]] featured a young [[Whitney Houston]] alongside [[Archie Shepp]], [[Brian Eno]], Bernard Fowler and [[Tony Thompson]] of [[Chic]]). Karakos next persuaded Laswell to helm the production suite for Celluloid recordings by African artists such as Toure Kunda, Mandingo and [[Manu Dibango]]. At the same time he was asked to remix Fela Kuti's “Army Arrangement” for Celluloid, the first of many such ventures (he would later remix [[Bob Marley]], [[Miles Davis]] and [[Carlos Santana]] for major labels). | + | ==Discography== |
| + | Excludes numerous compilations. The compilation "Spiritual" is pirated material lifted from other albums. Magma sees no profit from either this recording or from releases by the Charly and Tomato labels (primarily "Üdü Wüdü" and "Live/Hhaï"). | ||
| - | Celluloid's prolific output continued throughout the mid-eighties. As well as funding Laswell-related productions by [[Praxis (band)|Praxis]], [[Time Zone (band)|Time Zone]], Shango, B-Side, Deadline, [[Last Poets]], and even a resurrected [[Jimi Hendrix]] (appearing posthumously with [[Lightnin' Rod]] on the bluesy 12 inch “Doriella Du Fontaine”), Karakos also started a number of associated labels. OAO Records released much of Material's early output as well as albums by the aforementioned [[Golden Palominos]] and Cuban percussionist [[Daniel Ponce]]. Moving Target catered for the niche post-rock/reggae market, releasing material by [[Sly and Robbie]], Yellowman, [[Dennis Bovell]], [[Blurt]], [[The Fleshtones]] and, incredibly, [[The Flying Pickets]]. The short-lived Mercenary Records, meanwhile, released straight-ahead rock albums by [[Goo Goo Dolls]], Victory and Splatcats. An equally-short lived partnership with [[Morgan Khan]], head of [[Street Sounds]], saw albums by B-Side. Manu Dibango and Mandingo licensed for release in the UK on Khan's Streetwave label. | + | ===Studio albums=== |
| - | By [[1986 in music|1986]], increasing demands on Laswell's time (including work on major label albums by [[Yoko Ono]], [[Mick Jagger]], [[Motörhead]] and [[PiL]]) meant that his work for Celluloid became more sporadic, though he did produce Horses and Trees for [[Ginger Baker]] (whom Laswell had tracked down in [[Italy]] and persuaded to play on PIL's “[[Album (album)|Album]]”) and contributed to the Golden Palominos' “Blast of Silence” and “A Dead Horse” albums, as well as recording with [[Last Exit (Free jazz band)|Last Exit]] and releasing an album with [[Peter Brötzmann]] for Celluloid. The label, meanwhile, continued to release records that didn't involve Laswell; this eclectic selection included [[Eric Dolphy]]'s “Iron Man” and “Conversations”, [[John McLaughlin (musician)|John McLaughlin]]'s “Devotion”, and “Welcome To Dreamland”, a compilation of Japanese pop overseen by [[Fred Frith]]. African music also featured heavily in Celluloid's mid to late eighties output: [[Kassav]], Toure Kunda, [[Fela Kuti]], and [[Mahlathini and the Mahotella Queens]] all released albums through the label. Karakos also kept up his interest in the [[post-punk]] scene by releasing a solo album by [[Television (band)|Television]] guitarist [[Richard Lloyd]] (Real Time, [[1987 in music|1987]]), and found time to start up two new offshoots, Braziloid and Skaloid, which released, [[Brazilian]] and [[ska]] music respectively. | + | *1970: ''[[Magma (album)|Magma]]'' |
| + | *1971: ''[[1001° Centigrades]]'' | ||
| + | *1972: ''[[The Unnamables]]'' (as [[Univeria Zekt]]) | ||
| + | *1973: ''[[Mekanïk Kommandöh]]'' (not officially released until [[1989]]) | ||
| + | *1973: ''[[Mekanïk Destruktïw Kommandöh]]'' | ||
| + | *1974: ''Ẁurdah Ïtah'' | ||
| + | *1974: ''[[Köhntarkösz]]'' | ||
| + | *1976: ''[[Üdü Wüdü]]'' | ||
| + | *1978: ''[[Attahk]]'' | ||
| + | *1984: ''[[Merci (album)|Merci]]'' | ||
| + | *2004: ''[[K.A. (Kohntarkosz Anteria)]]'' | ||
| - | In [[1989 in music|1989]], Celluloid´s New York branch was officially declared bankrupt and closed its doors, while Karakos having returned to [[Paris]], helped produce in partnership with ex-Celluloid [[A&R]] man, Robert Soares and film director, Olivier Lorsac, the [[zouk]]/Brasilian music influenced, [[Kaoma]] band which consisted of ex-Celluloid recording artists from Toure Kunda and the main group to musically represent the repertoire of the [[lambada]] [[dance music]] explosion in [[Europe]] during that same year. Originally intented for Celluloid´s Brasilian division, the lambada music compilation and video was eventually released on [[CBS Records]] worldwide, reaching no. 1 on top of the [[Pop music|pop]] music charts in Europe. Laswell had decamped to become a producer for hire and would later found [[Axiom (record label|Axiom]], under the auspices of Island's [[Chris Blackwell]] which continued Celluloid's [[avant-garde]] musical policy. The French branch of Celluloid continued to licence music for compilations on other labels, notably MauMau and Charly, while releases were sporadic at best, and largely aimed at the French market. | + | ===Other material=== |
| - | The [[U.S.]] rights to all of Celluloid´s [[master recording]]s passed to American record distributor, John Matarazzo, who's association with Laswell and Soares started in [[1993 in music|1993]] and ended in [[1995 in music|1995]] with the founding of the [[Experimental music|experimental]] [[Ambient music|ambient]], [[Dub (music)|dub]] and [[breakbeat]], New York based labels, [[Subharmonic (record label)|Subharmonic]] and [[Strata (record label)|Strata]], releasing a total of 21 [[CD]]´s before calling it quits. Laswell and Soares continued collaborating together on projects for different labels, mostly inspired by [[21st century]] [[drum and bass]], yet both maintaining their line of work well under the influence of the original cross-border [[Jazz-fusion|fusion]] concept of Celluloid when at its cutting-edge peak period during the mid 1980´s. | + | *1975: ''[[Live/Hhaï]]'' |
| + | *1976: ''[[Inédits]]'' | ||
| + | *1981: ''[[Retrospektiw (Parts I+II)]]'' | ||
| + | *1981: ''[[Retrospektiw (Part III)]]'' | ||
| + | *1986: ''Mythes Et Legendes Vol. I'' (compilation) | ||
| + | *1992: ''[[Les Voix De Magma]]'' (live) | ||
| + | *1994: ''Akt IV (Theatre Du Taur Concert, 1975)'' | ||
| + | *1995: ''Akt V (Concert Bobino, 1981)'' | ||
| + | *1996: ''Akt VIII (Bruxelles - Theatre 140, 1971)'' | ||
| + | *1998: ''Floë Ëssi/Ëktah (EP)'' | ||
| + | *1998: ''Simples'' | ||
| + | *1999: ''Akt XIII (BBC 1974 Londres)'' | ||
| + | *2001: ''Trilogie Theusz Hamtaahk (Concert du Trianon)'', DVD | ||
| + | *2006: ''Mythes et Légendes Epok 1'', DVD | ||
| + | *2006: ''Mythes et Légendes Epok 2'', DVD | ||
| + | *2007: ''Mythes et Légendes Epok 3'', DVD | ||
| + | *2008: ''Mythes et Légendes Epok 4'', DVD | ||
| + | |||
| + | ==Discographic notes== | ||
| + | Magma's ''Theusz Hamtaahk'' trilogy is composed of three movements : ''Theusz Hamtaahk'' (first appearing on the ''Retrospektiw (Parts I+II)'' album), ''Ẁurdah Ïtah'', and ''Mëkanïk Dëstruktïw Kömmandöh''. | ||
| + | |||
| + | The ''K.A. (Kohntarkosz Anteria)'' and ''Köhntarkösz'' albums are respectively the first and second parts of a second trilogy. Although never surfaced in full, at least parts of the missing movement ''Emëhntëht-Rê'' have been recorded, two snippets appearing as a bonus tracks on the Seventh Records CD reissues of ''Live/Hhaï'' and ''Üdü Wüdü''. ''Emëhntëht-Rê'' is currently being completed by the band and is expected to be their next album, for release in 2008. | ||
| + | |||
| + | ''The Unnamables'' was recorded as '''Univeria Zekt''' and is widely considered to be an easier listen than most of Magma's recordings. | ||
| + | |||
| + | ''Ẁurdah Ïtah'' may technically be a Christian Vander solo project, in that it was composed entirely by him, bore his name during its original release as the soundtrack for the film ''Tristan et Iseult'', and did not feature all of Magma's then-current musicians. It did bear the Magma logo, however, and Vander has referenced it as a Magma album. | ||
| + | |||
| + | After ''Hhaï'', the focus shifted away from the spiritual/epic poem aspects of their music. While ''Attahk'' and ''Üdü Wüdü'' do have some songs written in Kobaian, it was never revealed how these fit into the earlier story structure Magma had built. | ||
| + | |||
| + | ''Les Voix'' and ''Floë Ëssi/Ëktah'' were performed by Vander with a completely new lineup. The style was somewhere between the classic Magma sound and the more jazz-influenced music of Vander's post-Magma band, Offering. | ||
| + | |||
| + | ''Simples'' consists of several earlier Magma prog-rock epics edited down to a length that the band had originally hoped would garner them radio airtime during the 1970s. | ||
| + | |||
| + | In November 2004 ''Kohntarkosz Anteria'' or ''K.A.'' was released on Seventh Records, the first recording of a lengthy work written 30 years before, bridging the gap in the Kobaian saga between ''MDK'' and ''Kohntarkosz.'' Magma's lineup was different for this disc; the only original members were Christian and Stella Vander. Reviews were almost unanimously positive, many considering ''K.A.'' the equal of any of the '70s classics. | ||
| + | |||
| + | ==Critical reception== | ||
| + | The band has a number of high-profile fans. World famous [[snooker]] player [[Steve Davis]] is one of their biggest fans, and even organised a concert in London so he could watch them. | ||
| + | |||
| + | Prolific drummer [[Zach Hill]] (best known for his work in [[Hella (band)|Hella]]) stated in the August 2006 issue of Modern Drummer magazine that Christian Vander is his favorite drummer of all time. Punk rock singer [[John Lydon]] (Johnny Rotten of the [[Sex Pistols]] and [[Public Image Ltd.]]) stated that he loved Magma. | ||
| + | |||
| + | [[Antoine de Caunes]] wrote a biography of the band. | ||
| - | Despite the confusion, much of Celluloid's output is now dubiously finding its way onto CD store shelves through labels such as Charly and Collision. Unconfirmed reports say no royalties are being made by the original musicians, though the terms of the original recording deals are unknown. | ||
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Magma is a French progressive rock band founded in Paris in 1969 by classically-trained drummer Christian Vander, who claimed as his inspiration a "vision of humanity's spiritual and ecological future" that profoundly disturbed him. In the course of their first album, the band tells the story of a group of people fleeing a doomed Earth to settle on the planet Kobaïa. Later, conflict arises when the Kobaïans — descendants of the original colonists — encounter other Earth refugees. A remarkable aspect of Magma's albums is that Vander actually invented a constructed language, Kobaïan, in which most lyrics are sung. Later albums told different stories set in more ancient times; however the Kobaïan language remained an integral part of the music.
Considered by many to be musically adventurous and imaginative, Magma makes extensive use of the choral format, their album Mekanïk Destruktïw Kommandöh being particularly reminiscent of the classical composer Carl Orff, while Ẁurdah Ïtah reveals connections to Béla Bartók's piano music and "Les Noces" by the Russian master Igor Stravinsky. Work by Magma is also highly influenced by jazz saxophone player John Coltrane.
So many musicians played with Magma over the years, who then went on to form their own solo projects and/or spinoff acts, that the Kobaian term Zeuhl came to refer to the style of these bands and the French jazz fusion/symphonic rock scene that grew around them. Beyond Christian Vander, the drummer/composer, the most well-known of the old Magma lineup was probably Jannick Top, the bassist/co-composer.
While Magma's recordings remain relatively hard to find, Christian Vander and Jannick Top together keep Magma's back catalog in print on CD.
Contents |
Discography
Excludes numerous compilations. The compilation "Spiritual" is pirated material lifted from other albums. Magma sees no profit from either this recording or from releases by the Charly and Tomato labels (primarily "Üdü Wüdü" and "Live/Hhaï").
Studio albums
- 1970: Magma
- 1971: 1001° Centigrades
- 1972: The Unnamables (as Univeria Zekt)
- 1973: Mekanïk Kommandöh (not officially released until 1989)
- 1973: Mekanïk Destruktïw Kommandöh
- 1974: Ẁurdah Ïtah
- 1974: Köhntarkösz
- 1976: Üdü Wüdü
- 1978: Attahk
- 1984: Merci
- 2004: K.A. (Kohntarkosz Anteria)
Other material
- 1975: Live/Hhaï
- 1976: Inédits
- 1981: Retrospektiw (Parts I+II)
- 1981: Retrospektiw (Part III)
- 1986: Mythes Et Legendes Vol. I (compilation)
- 1992: Les Voix De Magma (live)
- 1994: Akt IV (Theatre Du Taur Concert, 1975)
- 1995: Akt V (Concert Bobino, 1981)
- 1996: Akt VIII (Bruxelles - Theatre 140, 1971)
- 1998: Floë Ëssi/Ëktah (EP)
- 1998: Simples
- 1999: Akt XIII (BBC 1974 Londres)
- 2001: Trilogie Theusz Hamtaahk (Concert du Trianon), DVD
- 2006: Mythes et Légendes Epok 1, DVD
- 2006: Mythes et Légendes Epok 2, DVD
- 2007: Mythes et Légendes Epok 3, DVD
- 2008: Mythes et Légendes Epok 4, DVD
Discographic notes
Magma's Theusz Hamtaahk trilogy is composed of three movements : Theusz Hamtaahk (first appearing on the Retrospektiw (Parts I+II) album), Ẁurdah Ïtah, and Mëkanïk Dëstruktïw Kömmandöh.
The K.A. (Kohntarkosz Anteria) and Köhntarkösz albums are respectively the first and second parts of a second trilogy. Although never surfaced in full, at least parts of the missing movement Emëhntëht-Rê have been recorded, two snippets appearing as a bonus tracks on the Seventh Records CD reissues of Live/Hhaï and Üdü Wüdü. Emëhntëht-Rê is currently being completed by the band and is expected to be their next album, for release in 2008.
The Unnamables was recorded as Univeria Zekt and is widely considered to be an easier listen than most of Magma's recordings.
Ẁurdah Ïtah may technically be a Christian Vander solo project, in that it was composed entirely by him, bore his name during its original release as the soundtrack for the film Tristan et Iseult, and did not feature all of Magma's then-current musicians. It did bear the Magma logo, however, and Vander has referenced it as a Magma album.
After Hhaï, the focus shifted away from the spiritual/epic poem aspects of their music. While Attahk and Üdü Wüdü do have some songs written in Kobaian, it was never revealed how these fit into the earlier story structure Magma had built.
Les Voix and Floë Ëssi/Ëktah were performed by Vander with a completely new lineup. The style was somewhere between the classic Magma sound and the more jazz-influenced music of Vander's post-Magma band, Offering.
Simples consists of several earlier Magma prog-rock epics edited down to a length that the band had originally hoped would garner them radio airtime during the 1970s.
In November 2004 Kohntarkosz Anteria or K.A. was released on Seventh Records, the first recording of a lengthy work written 30 years before, bridging the gap in the Kobaian saga between MDK and Kohntarkosz. Magma's lineup was different for this disc; the only original members were Christian and Stella Vander. Reviews were almost unanimously positive, many considering K.A. the equal of any of the '70s classics.
Critical reception
The band has a number of high-profile fans. World famous snooker player Steve Davis is one of their biggest fans, and even organised a concert in London so he could watch them.
Prolific drummer Zach Hill (best known for his work in Hella) stated in the August 2006 issue of Modern Drummer magazine that Christian Vander is his favorite drummer of all time. Punk rock singer John Lydon (Johnny Rotten of the Sex Pistols and Public Image Ltd.) stated that he loved Magma.
Antoine de Caunes wrote a biography of the band.
