Magma- Mekanïk Destruktïw Kommandöh

After that humiliating performance of "Otis" last week, let's give Magma their fare due. Christan Vander, a classically trained drummer, founded the group in 1970. He decided the best way to overcome the language barrier between him and the majority of Prog rock listeners was to make up his own language, called Kobain. He then took the word for celestial in the language, Zehul, and used it to define his music (a mix of space rock and jazz fusion, which has since gone on to be applied to other bands). Magma's albums are linked together as a massive space opera about evacuated Earthlings settling the planet Kobaia, and their conflict with latter settlers. Various albums form various sub-arcs to the story. Mekanïk Destruktïw Kommandöh, which was part 3 of the "Theusz Hamtaahk" arc (although the first released), was released in 1973. It is generally considered Magma's magnum opus. Other members include: Jannick Top (bass), Klaus Blasquiz (Vocals, Percussion), Jean Luc Manderlier (piano, organ), Rene Garber (Bass Clarinet, Vocals), Claude Olmos (guitar), Christians' wife Stella Vander (Vocals), Teddy Larsy (brass, flute), and several extra vocalists. Phew.

"Hortz Fur Dehn Stekehn West" is the first song, and at close to 10 minutes, it starts it in epic fashion. There is lots of Kobain chanting over a repeating and sinister piano riff, until brass comes in and it assumes the overall character of a march. There's some interesting changes of time signature going on here. "Ima Suri Dondai" then takes this to a slightly overdramatic level, using Vander's falsetto and a whole lot of bass guitar. This is followed by "Kobaia Is de Hundin", which segues in and segues out with more of the chanting chorus, although this time featuring drums and sax prominently. It calms down then end for a switch in sides of the record.

"Da Zeuhl Wortz Mekanik" starts out with a tribal chant over typical Native American drums. It quickly goes into the high falsetto/female vocals. However, here the volume is quieter and the whole affair is much more subtle. Then comes "Nebehr Gudahtt", which really is just more of the same."Mekanik Kommandoh" and "Kreuhn Kohrmahn Iss de Hundin" follow suit. I think the story here is about the war between Earth and Kobaia. Kobaia threatens use of its master weapon, the Mekanïk Destruktïw Kommandöh.

Overall, I find myself not finding much to applaud on the album. It's got all sorts of jazzy, progressive stuff going on, but despite having separate songs each does little do develop individual ideas and sounds. The whole thing is very repetitive, as nonsensical Kobain Chants get quite tiring after a while. For all those reasons, it's a must have for the space rock fans.

Magma tried nobly with Mekanïk Destruktïw Kommandöh, but in the end the chants start to sound comic. Grade: D+

Merry Christmas from Count Felix

Here's a little prog rock comedy from that beloved time called the 1980's as my christmas gift to you. Enjoy! (The artist is Magma, that's Christian Vander Singing.)



Please drink responsibly.

Ange- Emile Jacotey

I apologize if some of my French translations are inaccurate. I did them myself, and I'm by no means fluent in the language. Please correct me on any mistakes!

One of the best known of France's symphonic prog bands, Ange got its start with the brothers Décamps, Francis (keyboards) and Christian (vocals). The group was heavily influenced by contemporaries King Crimson and Genesis, and in turn went on to influence many popular British bands. Ange's signature is prog with the twist of the medieval epic. Chrisitan Décamps vocal style in known for being highly dramatic and pulled out. Emile Jacotey was released in 1975, album #4 for the group. Other members included Jean-Michel Brezovar (guitar), Daniel Haas (bass), and Guénolé Biger (drums).

This album has a concept of mirroring the old storytellers throughout France. Emile Jacotey is a fictionalized one, and an 86 year old man provided narration in between some of the tracks. Song #1 is called "Bêle, bêle petite chèvre" (Bray, bray, Little Goat). This song seems very aggressive for prog, as the guitars mirror Black Sabbath if anything else and the vocals are strange and violent. There's very heavy lyrics here for prog (Creé, Je te blesse, par example). It ends with a eerie electronic quiet and some narration from le vieux homme (the old man). Next is Sur la trace des fées (On the trail of the fairies). Here we have more of an emotional epic. It's one of the more spacious sounding songs here, with lyrics including flying away following the title trail to find faeries in white dresses. Pretty typical prog fair, actually. "Le nain de Stanislas" follows it up with some fast prog, reminiscent of Genesis or ELP with a French touch. Both Décamps brothers are particularly theatrical on this song, bending thier voice and keyboards to make an effective feeling of insanity. 4th up we have "Jour Après Jour" (Day after Day), which is a ballad (Day after day she becomes more beautiful). "Ode à Émile" (Ode to Émile) finishes off the side. This song is another one of sympho prog fair, and it's message is one of great hope (look, let's go past the moon and we'll never be old).

Side two consits mostly of "Ego and Deus", a song in four parts: the title track, J'irai dormir plus loin que ton sommeil (I will go to sleep much longer than you are tired), Aurélia, and Les noces (Weddings). I can't understand of the lyrics, but it's got something to do with Conquistadors. All parts of the suite emphasise the theatrical style Ange prefered, as they jutxapose soft and quiet, fast and slow, electronic with acoustic. There is one final song, "Le marchand de planètes" (The salesman of planets), which is pretty drippy (Dive into the galaxy? I'm there!) It's style is whimsy more than anything.

Emile Jacotey isn't a bad album. The problem is, it fails to do much to distinguish itself. The lyrics, and especially their delivery, are fantastic, but the instrumentation seems like an afterthought. The keyboards have generic sound settings, the typical rock instruments copy off of other bands. When there's an instumental passage, it's very bland and uninteresting (Les noces is the best example). The whole show rests on Chrisitnan Décamps, and he can only go so far.

While it's got some great parts, Ange's reputation as the kings of French prog rest upon other albums. Grade: C

France and Prog: The Sleeping Giant

With up to 64 million people, France had more population than any other nation on the Democratic side of the Iron Curtain. Yet, with all the people and all the prog, France seems to get less recognition than it's surrounding neighbors. Italy and Germany receive most of the love on the Continent, and these days the Internet will look to Spanish or Dutch prog long before the French. The problem for France seemed to be a lack of unification; much like the UK, France had many movements going on without a central style as many nations had. On one hand, it makes it harder to find exactly what you're looking for with French prog, but on the other hand, this nation gives something for every fan.

France is probably most famous for housing Zehul. This strange little subgenre came out of the head of Christian Vander, a classically trained drummer. His band, Magma, made up it's own language, Kobaian, to sing epic multi album space operas. Best described ans somewhere in between jazz fusion and Romanticism, this genre is challenging but rewarding. Besides a neo-Zehul movement in Japan, this music is almost exclusively French.

France also had a healthy symphonic prog scene. The most famous band was Ange, who went on to be a strong influence on English prog rock groups like Pink Floyd. Many of those groups, like Asia Minor and Sandrose, sung in english, while others, like Wapassaou and Pulsar, used French. Other famous sympho progers included Pollen and Moving Gelatine Plates.

There was a large tangent of instrumental prog in France from the mid 70's. Atoll is one of the most legendary jazz fusion/prog groups, and their brand influenced many copycats. The French also were very creative and experimental, with bands like Clearlight and Art Zoyd going off on avant garde trips. Art Zoyd would later be associated with the RIO movement.

When exploring French prog, like most non US/UK porg, you'll have to do some searching. Albums are not easy to come by, especially outside of the Francophone world. Yet, it is worth the effort. With so much variety, France rarely fails to deliver a good listen. Bien écouter!

Jean-Michel Jarre- Oxygene

Time for France Month! We'll be starting off with France's best known prog electronic pioneer, Jean-Michel Jarre. Son of film composer Maurice Jarre, Jean-Michel released an impossible to find album in 1972 which went nowhere. he then made no new albums for 4 years, but built a home 8-track studio with dozens of assorted synthesizers. Oxygene, released in 1976, is the result. This album won Jarre 15 minutes of fame in the U.S. and set him on pace for a notable career over in Europe.

All of the songs are part of the long piece Oxygene, with 6 parts, 3 per side of the record. Part one starts off ARP synth wails and some drib-drab vibraphone like noises. It goes for a creepy, arctic feel. Part 2 is one of the two most critical parts. Jarre tries some innovative sampling and sequencing here. Unfortunately, by using all the latest and greatest settings of 1976, "Oxygene Pt. 2" is enjoyable, but sounds immensely dated. At just 2:55, Part 3 is a short space-age interlude. The second key part is 4, where Jarre uses a Caribbean muzak rhythm to make his melody. This would influence electronic music for 40 years to come. Part 5 runs for over 10 minutes. It is similar in style to part 3, very alien and spacey. Part 6 closes on more Caribbean like beat with a melody similar to Part 1.

This album is of its time. By using ARP and Moog synthesizers abundantly (both would be out of business in less than 10 years) amongst other synth equipment from the age, it sounds more dated then almost any progressive rock. Yet, it's got a quirky and innocent charm despite the age. Oxygene is fun to nod along to in the background, and on top of that this album is great for getting electronic prog converts.

The little child with special appeal in a world full of somber existentialist men, Oxygene earns a Grade of B+.