Magma - Concert 1971, Bruxelles - Théâtre 140

This archival Magma double disc album represents a concert recorded on 12th of November, 1971 in Brussels, Belgium at Theatre 140. The septet known from 1001 Centigrades (that is, with the three man horn section and minus the guitarist Claude Engel from the first album) performs a set culling material from the first two albums, plus two later Magma standards that were new at the time. Sound quality is clearly bootleg quality, as the balance between instruments isn’t the best. Worse still, the saxophone sound is occasionally particularly shrill and grating.

CD1 sounds especially noisy, offering interesting, if loose variations on the material off the debut album, which clearly sounds different without Engel’s guitar parts. For example, „Stoah“ cuts off before the flute driven sections and segues straight into „Kobaia“ that has a different bassline for most of the time than the studio version. This track is particularly worthwhile for an intense blow-out courtesy of tenor saxophonist Jeff (Yochk'o) Seffer. Lack of guitar means that the song is only seven minutes long, contrasting the usual 10 minute duration whenever guitar as a soloing instrument was present. On „Aina“, vocalist Klaus Blasquiz is heard singing some of the guitar notes. „Riah Sahiltaahk“ is a rare performance of that sidelong epic penned by drummer Christian Vander. It clearly lacks the sophistication of the studio version, as the instrumentation is simplified (no clarinets, but saxes) and it again sounds a bit loose. Also, they skip one of the early sections on some reasons. Still, Blasquiz does a fine job vocally.

CD2 has a slightly better sound, as the saxophone sound isn't as grating as on the first disc. As the entire Centigrades album is being performed, CD2 starts off with "Iss Lansei Doia" that has a long drawn out weird intro with shrieking noises. Compared to the studio version, Francois "Faton" Cahen plays acoustic piano for the main riff. Middle section lacks harmony vocals, but Blasquiz still provides the low guttural grunts as on the studio counterpart. Trumpeter Louis Toesca takes a short but sweet solo during the binary 5/4 beat (as opposed to the triplet 5/4 groove on the studio version) before the closing part. "Ki Iahk O Liahk" is again performed with saxes instead of clarinets on the first half, the smooth jazzy later part is mercifully short and it segues into an interesting bebop el-piano solo courtesy of Cahen before Vander concludes the piece with a short drum solo.

Last two numbers are earliest performances of two Magma classic era mainstays: "Sowiloi" is without the drawn out spacey intro, starting out straight with the main riff and melody, it also has a nice flute solo at the end by Teddy Lasry. While "Mekanik Kommandoh" is an embryonic, skeletal (but with an intriguing bossanova intro later dropped) take of what would later blossom into "Mekanik Destrüktiw Kommandoh". Interesting 16 minute version, the horn section does a fine job, although bassist Francis Moze (otherwise an underrated Magma bass player) here is clearly just malleable compared to the manic power of Jannick Top.

Not a great release, as it has a bootleg-ish sound quality but an interesting early document worth checking for hardcore fans and those who want more of the horn-driven early jazz-rock Magma.

Zao - In Tokyo

Zao, French prog-jazz legends from Seventies, reformed in 2004 with original core members Yochk'o Seffer (sax) and Francois "Faton" Cahen (keyboards) along with Gerard Prevost (bass) who was a member of Zao from 1975-77, drummer Francois Causse, who had played with Faton and Seffer before and last, but not least, the new female vocalist Cynthia Saint-Ville. Her addition to the fold will doubtless attract Zeuhl enthusiasts, as her voice is pretty similar to Mauricia Platon, but softer and more sensual, while equally powerful. In Tokyo is a live album recorded during the Japan tour in 2004 and it adds a violinist Akihisa Tsuboy to round out the classic Zao sound which, while more acoustic sounding thanks to Faton largely playing grand piano and only occasionally comping on Fender Rhodes, nonetheless stays true to the classic tone colors of Zao. Versions of pieces like "Isis", "Shardaz", "Zohar" as well as material from Kawana benefit a lot from the addition of female vocals. The only disappointing piece is "Ronach" which doesn't have the same verve and fluid edginess that the original version had (not to mention, Causse sounds a bit stiff here compared to the militantly exuberant hammering of Jean-My Truong on the original version). It was probably a bit too complex piece for the band to pull off. Elsewhere, they deliver. Guest violinist Tsuboy dishes out fiery electric violin solos, at times reminiscent of Lockwood, even though he tends to be obscured during the written sections by sax and voice. Nonetheless, Zao in its current configuration sounds like a tight live act, a bit jazzier than the seventies editions, but nonetheless very enjoyable. Recommended live album for fans of jazzier end of Zeuhl.

Zao - Shekina

1975 brought more lineup changes for Zao. Violinist Jean-Yves Regaud and bassist Joel Dugrenot quit, to replace them, Zao enlisted Gerard Prevost on bass and last, but not least, an entire string quartet. Zao had decided to combine their jazz-rock style with classical string arrangements and the string ensemble for the job was an all-female quartet led by violinist Michele Margand. The result was Shekina, recorded during the summer of 1975, that stands as the most unique album Zao recorded.

Shekina is also the most Yochk'o Seffer influenced of all Zao albums, as he takes up most compositional credits. Francois Cahen contributes two pieces and the album opener, "Joyl" is the least interesting composition, as it's a standard jazz fusion (think Weather Report or Karl Jenkins era Soft Machine) number, that does feature some fine string arrangements on it. Seffer's compositions on the other hand are always challenging, combining and integrating elements from jazz, progressive, ethnic and classical music, allowing room for open ended improv while balancing them with skillful orchestration. "Yen-Lang" starts out very ambient and free-floating, with a central instrument being the flute that stands as an improvisational counterpoint to cinematic strings, culminating in a mellow but intense solo against a soft laidback groove towards the second half. "Zohar" became a concert staple and its rigid fast-paced saxophone oriented theme with particularly militant drum work from Jean-My Truong would often lead way to exploratory improvisations. The studio version is notable for an orchestral middle section with just unaccompanied strings playing a variation on the main theme. "Metatron" combines Zeuhl and Weather Report styled jazz-rock contrasting soprano sax driven rigid themes with celestial vocal sections where Seffer shines on falsetto vocalize that sounds more refined than his earlier vocal attempts on Osiris. His sax solo on this piece however is an acquired taste with its high shrill tone.

Even so, Shekina stands as a Zao album lightest on the saxophone, as virtually all other Zao albums with Seffer showcased him on soprano sax for most of the time. Only three tracks out of six included saxophone ("Joyl", "Zohar", "Metatron"). "Zita", another Cahen composition features the instrumentation of bass, electric piano, strings and Seffer's yearning falsetto vocal that makes an already gorgeous ballad sound more haunting. "Bakus", the only composition without strings, features just the basic band augmented by Seffer's falsetto voice and a rumbling bass clarinet doubling the rolling bass lines.

Creatively Shekina was Zao's most accomplished studio album, even though the problems with adequate amplification of the extended ensemble in live settings led to the abandonment of the format a year later. Even though no other Zao album sounds like this, Shekina would be an early manifestation of Yochk'o Seffer's ambition in combining jazz improvisation and classical influences regarding composition and arrangements, a direction he would later pursue in solo career context, particularly his post-Zao Neffesh Music project. An essential listening for Zeuhl connoisseurs.



First 90 seconds show Zao in 1975, including an excerpt from "Marochsek" with string arrangements. A brief clip from "Zohar" follows.



Zao, reunited, playing "Zohar" in 2005 with vocalist Cynthia Saint-Ville adding the essential Zeuhl flavor.

Zao - Osiris

In 1974 just before Zao were set to record their second album, vocalist Mauricia Platon quit. After having played some of the newer compositions live with her, the band had to re-orient in terms of vocals. Thus, wherever possible, Yochk'o Seffer (sax) sang the high falsetto parts, while Joel Dugrenot (bass) would provide low voice here and there. Given how formidable the shoes of Platon were to fill, however, Zao's emphasis on voice was lessened. Thus, Osiris sounds less of a jazzy Zeuhl album than a Zeuhl-inspired jazz-fusion album. Compared to the vibrant sound of both the previous album and the one that would follow (Shekina), Osiris sounds a bit duller in comparison. Either due to muddier production or poor CD remastering.

Still, there are worthwhile compositions on this album. "Shardaz", penned by Yochk'o Seffer, shows that even though his high falsetto voice is hardly comparable to the powerful scatting of Platon, it nonetheless has character on its own that would be more pronounced on the next Zao album as well as his subsequent Neffesh Music solo career. It begins with ominous slow theme, before switching into a bouncier groove, that also leaves room for a challenging acoustic piano solo from Cahen, before returning to the opening theme.

Even though Seffer is credited only with saxophone and voice, he does play a couple other woodwinds on this album. Another highlight and a concert staple called "Isis" follows the opening number, starting with a pastoral flute-oriented section. Composed by Francois Cahen, it shows a remarkable Frank Zappa influence. The haunting flute driven section sounds as transcendent in its beauty as the most chamber like moments on the early Mothers of Invention albums. Seffer then returns to his usual soprano saxophone whipping out a solo over a 9/4 vamp that is easily among his best soprano sax solos recorded. After his solo concludes, the tempo picks up and more Zappa influence shines through with difficult sax/violin unison melodies that would not feel out of place on Uncle Meat, before violinist Jean-Yves Regaud takes an electric violin solo using a wah-wah pedal (again, pointing to the Zappa influence). The piece is finished with the same flute based pastoral theme it began with.

"Reinna", written by Dugrenot, is not as remarkable as "Satanyia" was on the previous album, though there's a nice uncredited bass clarinet break during the middle section. "Yog" is another Seffer composition and it's the most complex piece with multiple shifting sections, including some interesting vocals from both Seffer and Dugrenot. "La Rhune", by contrast, just focuses on one groove throughout and sounds like an album filler. Not bad or unlistenable, just not as interesting as other pieces.

The original album was even shorter than Z=7L, in just 31 minutes. But where Z=7L was consistently strong throughout, Osiris has three great pieces and two (even if short) lesser compositions. CD version adds a bonus track recorded by Seffer, Cahen and Canadian guest musicians. "Montreal" lasts for more than 11 minutes and is a mesmerizing piece containing fine rhythm section, a nice blend of Cahen's organ playing, haunting female vocals as well as passionate tenor sax from Seffer. Seffer hardly played tenor sax with Zao, sticking to mostly soprano (and occasionally, bass clarinet and flute), but here he shows he's one of the most accomplished tenor player in the French jazz scene. This bonus track is a worthwhile addition for the reissue of this album that is otherwise pretty good, but lacking a bit when compared to the album before and the album to follow.





Two-part video of the 2004 reunion lineup playing "Isis". The arrangement is different from the studio version as there is no flute, just soprano sax throughout and there's a female vocalist Cynthia St-Ville, who is formidable enough to fill the shoes of Platon.

Zao - Z=7L

Zao was formed after two members of Magma felt that their creativity was inhibited by drummer Christian Vander taking total artistic control, by curbing improvisations and disallowing compositional input from other members. The duo, reedman Jeff (born Yochk'o) Seffer and pianist Francois Cahen wanted to do precisely that: play their own pieces and improvise more. They wasted no time getting their own group together, adding Jean My Truong (drummer from Seffer's free jazz unit Perception), Joel Dugrenot (bass), but also a violinist (at Seffer's insistence) Jean-Yves Regaud and a vocalist Mauricia Platon. Together the sextet sought to create their own jazzy manifestation of Zeuhl genre.

Z=7L was the band's first album. It was also their only record to feature vocalist Mauricia Platon who quit before the second album. Her forceful and operatic scatting may seem like an acquired taste, but it is inescapable to conclude that her voice has a lot of personality and it fits in well with the band's sound that combines nimble, odd metered rhythms with repetitive keyboard backing and the combined textures of violin and soprano sax. The latter two instruments blend well with each other and Platon's powerful vocalize adds another layer. Most of the compositions come from the pens of Seffer and Cahen. The former contributes "Marochsek", a dark foreboding number that makes excellent use of space and dynamics, his other pieces like "Ronach" and "La Soupe" blend modern jazz and Eastern European folk sensibilities well, contrasting complex syncopated writing with open ended exploratory solo space. Cahen's contributions sound lighter and bouncier, "Ataturc" being a fine showcase for his keyboard work, whereas "Atart" is a highlight with its addictive 9/8 modal groove so reminiscent of early Soft Machine, particularly "Hibou Anemone and Bear" that particularly stands out with its middle section with multiple interlocking saxophone overdubs that sound intense, orgasmic and mesmerizing. That whole track is a masterpiece of sensual Zeuhl-inspired jazz-fusion.

Another highlight is the last track, "Satanyia". Written by bass guitarist Dugrenot, it's probably the closest thing to the classic Magma sound. Seffer switches to bass clarinet for this number that contrasts spacey drones and open ended improv with a fast syncopated odd meter and then some spine tingling mysterious slow chords and melodies. The most atmospheric and transcendent track on the entire album and a fine way to close this excellent, if a bit short album in a little less than 36 minutes. But apparently the oil crisis back in the day didn't allow for pressings of longer vinyl records. Still, it's interesting that there were no outtakes from the sessions, whereas a couple other Zao CD remasters have bonus tracks. But since the entire record is so remarkably and consistently accomplished work, the brevity is not really an issue. Z=7L is certainly a Zeuhl masterpiece and well recommended for those into jazzier end of the genre.

Yochk'o Seffer - Ima

Ima was a second album from Yochk'o Seffer and his Neffesh Music project. Compared to the previous album, Ima has a darker and more sinister vibe. The arrangements, composition and layering of sounds is more complex than on Delire, the result is a difficult but a richly rewarding listen, a bizarre avant-fusion manifestation.

The title track continues where the final composition on the last album (titled as the first part of "Ima") left off: sinister low drone in E pulsating throughout the 20 minute piece with shifting layers and textures drifting in and out of the mix. Yochk'o uses vocalizing, harmonies, saxophone solos, other self-made reed instruments that rattle and drone in the background and even synthesizers to create an unsettling and surrealist ambiance. Yochk'o plays almost everything in here, save for drums and bass (by Dominique Bertram and Manu Katche respectively) that appear 15 minutes in for some low-key interplay. 20 minutes of almost pure ambient music that sounds more involving than most other efforts in that vein.

The second side is more jazz and fusion oriented, but there's still a lot going on. Mauricia Platon from early Zao days sits in on vocals for the two compositions on side two. "Ofek" opens with mysterious rubato melody rendered on vocal and tenor sax underpinned by strings, bass and clavinet. Clavinet, bass and drums play edgy, herky-jerky rhythms, with meandering xylophone providing further tension. The piece straddles a fine line between composed and improvised material, featuring stellar string performance from Quatour Margand.

"Noce Chimique" is what I'd describe as "extremist jazz-fusion". It features tricky time signatures, nimble yet dissonant basslines and edgy soprano saxophone lines and as such, it might seem as a self-indulgent wank-fest. But further listens reveal a multi-layered beast. Various keyboards provide ominous texture, Platon's voice sounds eerie as hell, at 2:30 Seffer goes into a furious free-jazz piano solo that almost compares to Cecyl Taylor. Five minutes in violin solo comes in, followed by rigid strings. Seven minutes in the piece shifts into a fast paced 7/8 groove, with a choral backing from Platon (and possibly Seffer) to the sax solo, followed by a bass solo during a similar groove where harmonic backdrop is provided by overdubbed soprano and sopranino saxes. A very folky Hungarian melody on vocal and soprano sax follows the improvisation, until the sax drops out leaving piano, bass, drums and vocal. Eventually Platon recites the composition's title and the piece ends with synthesizer effects. Thus closes yet another interesting and unique record from Yochk'o Seffer, which might be his most avant-garde work. A surreal and sinister spin on Zeuhl.

Yochk'o Seffer - Delire

Although Delire was not Hungarian-born Parisian multi-instrumentalist Yochk'o Seffer's first solo album, it was nonetheless the first from his project Neffesh Music (music of the soul), consisting of him as the composer and the instrumentalist along with a revolving cast of other musicians. On this album he's backed by fellow Zao cohort Jean-My Truong on drums as well as a string quartet led by Michele Margand, who also were members of Zao at the time when this album was recorded (March 1976). All other instruments are played by Yochk'o.

What sets this album apart from his previous work with Zao, as well as his future Neffesh Music projects, was the lack of electric bassist. Therefore, this album includes less fusion/jazz-rock tinge, the dominant presence of acoustic piano and strings along with saxophones clearly hints at an avant-garde chamber rock sound reminiscent of Univers Zero, Henry Cow or possibly even late sixties Frank Zappa. Even within Seffer's varied discography this album is sonically unique, but unfortunately it's overlooked in favor of his other recordings, including Ghilgoul. Nowadays one can hope to buy this record via Ebay and this can incur more-than-average expenses for one vinyl copy. It's that rare!

"Heart" opens with a staccato piano-drums-sax riff, followed by ominous and rigid strings, the atmosphere is very tense and almost Stravinsky like. The main melodic theme is established after a minute with tenor sax carrying the melody, including a bassline that sounds like rendered on fuzz-bass, but is more likely a distorted bass synth that sounds heavy and sinister nonetheless. The same theme is then repeated on strings and Seffer's unique falsetto vocalize. Halfway in the piece switches to a funky drum break backing a tenor sax solo, with interjections from synth and piano.

"Jonetsu For Judith" ("jonetsu" is Japanese for "passion") starts with lush string arrangements and beautiful chord progression, as the prominent tenor sax solos over the chords with passionate agitation. Layers like piano, synthesizer and even overdubbed harmony vocals are added. The piece moves through some tense and dissonant chords that are contrasted by freeform tenor sax. The piece concludes with a moderately fast tempo carried by strings aided with synth bass and some percussion and Seffer's tenor sax gets more intense until the piece stops.

"Orkana" begins with a rubato synthesizer solo backed by sparse piano. First hint at the main melodic themes comes with overdubbed saxophones (sopranino, soprano and tenor). Drums and piano then come in and the same theme gets a beat-heavy basis, with Seffer adding vocalize to the mix as well. This is clearly the most Henry Cowish track on the entire album, as the interplay between drums and piano is pure kinetic chamber rock bliss, with overdubbed saxophones having the lushness comparable to a wind quartet, composed themes contrast with short solos on synthesizer, tenor and sopranino saxophones and Seffer showcasing more of his unique high voice. Halfway the piece switches to a relentless synth solo over a fast drum beat that goes on for a while until the piece concludes with the instrumentation of drums, piano and soprano sax.

"Streledzia" is a short, lush piece for electric piano, vocalize, strings and includes more freeform tenor sax outing. As a modern classical piece it sounds unique with its lush, empathic chord clusters, instrumentation and Coltrane-influenced tenor sax.

While other tracks confirm that Yochk'o Seffer is capable of composing warm, empathic and highly personal forms of avant-garde music combining modern classicism, free jazz and progressive influences, on the title track he pulls all the stops and creates a fusion of atonal classicism and unstructured free-jazz that at times sounds ominous, at times rigid and at other times shows that Seffer as a pianist had a bit of a Cecil Taylor influence. Not a palatable listening, unless you love later period Coltrane and/or Zappa's least accessible classical writing.

"Ima (1ere partie)" is a prelude to his next solo album, combining the low buzzing droning noises of his self-invented sonic sculptures, out-of-control bass clarinets rattling at the background, and haunting melodies carried by Seffer's vocalize, first doubled on a Moog synth and then on tenor sax. This is a mourning piece of proto-ambient music and as a precursor to the 2o minute title track of Ima, it shows that Yochk'o Seffer could also make electronic avant-garde music very well.

Delire is a rare and forgotten record that is unjustly overlooked. Nonetheless, it shows Yochk'o Seffer's boundless creativity as a composer, instrumentalist and improviser. This work transcends the usual trappings of jazz-fusion or progressive rock.

Yochk'o Seffer - Ghilgoul

Ghilgoul is an outstanding effort from reed-man Yochk'o Seffer (known from Zeuhl ensembles like Magma and Zao) who was in his Neffesh Music period, combining complex jazz-fusion stylings with string quartet orchestrations and his own sharp sax skills along with quite adept piano playing. Influences range from John Coltrane to Bela Bartók and Hungarian folk music. "Dag" is a highlight: one of his most accessible and memorable melodies written, a folky jaunt allied with rhythms and textures that suggest avant-prog or Rock In Opposition, along with solid jazz soloing from Seffer on soprano. "Sifra" starts with classical chamber music and transitions into a busy ensemble work with nimble rhythm section work from Dominique Bertram (bass) and Francois Laizeau (drums). Bertram wrote "Dailn" and that is the most overtly Fusion-influenced pieces, while "Larma" features Seffer's trademark falsetto vocalize, harking back to mid-period Zao. The title track is an avant-garde piece in the vein of "Ima", but less droning, combining Seffer's ghostly Ligeti-inspired overdubbed vocal harmonies, sax improvisations, keyboards and strings. The album's reissues have three bonus tracks recorded in 1980 with a different lineup, they feature Seffer extensively on piano and there's an alternate version of "Sifra", skipping the classical intro and jumping headfirst into ensemble section. Recommended for fans of RIO/Zeuhl.

Magma - 1001 Centigrades

After the first album, Magma underwent changes in line-up as well as sonic approach. First, two thirds of the horn section was revamped, with only reeds player Teddy Lasry retained. The new second reed player, Jeff (born Yochk'o) Seffer, brought bass clarinet to Magma's sound. Lasry also plays a soprano clarinet, blending in well with Seffer. There's less flute from Lasry though, which is a shame. Alas, Magma also lost the guitar player, who was not replaced. Pianist Francois Cahen adds electric piano to the mix. The result is that the band's sound on this album is closer to electric jazz/fusion, as opposed to the avant-jazz/psych-rock amalgam on their debut. At times the mix of ominous clarinets, cool electric piano and the driving rhythm section captures some sort of dark mystique, whereas some moments veer close to standard jazz-rock with typical electric piano and sax parts.

Where Magma reaches most of its transcendence on this album is Vander's epic opener "Riah Sahiltaahk". Originally occupying side one of the album, in the space of 22 minutes there are many sectional changes with shifting textural emphasis (brass, woodwinds, acoustic and electric piano) and alternating tempos and time signatures, carrying the operatic, at times chant-like ominous vocals. This composition is challenging, diverting and fairly inventive, while only hinting at the future Magma sound.

The other two pieces that occupied side two on the original vinyl, are more standard jazz-fusion compositions. Out of these, my favorite is "Iss Lansei Doia" (Teddy Lasry)which has all the elements you'd expect from a late sixties, early seventies jazz fusion music: nimble bass lines, electric piano backing and a theme carried by horns, all underpinned by open-ended drumming from Vander. But there's more: three minutes in the horns shift into freeform dialogue emulating traffic jam snarls, followed by a calm, almost classical sounding section with just unaccompanied reeds. Five minutes in, a fairly memorable Kobaian vocal section emerges, where Klaus Blasquiz employs his voice's lower register to a creepy effect. After that, a furious section in 5/4 follows, until the piece winds down.

"Ki Iahl O Liahk", Cahen's composition closes the album. Starts off fine, with a polyrhythmic workout with more sinister clarinet work and with more bizarre singing. Two minutes in, the piece shifts into a calm, melodic section with horns doubling the vocal melody and Vander providing some Elvin Jones like support along with unique syncopation. The sinister riff with clarinets returns, which then speeds up leading to a dissonant piano section with bizarre (and possibly electronically treated?) brass on top of it. And then? All the weirdness ends and the last four minutes are essentially just standard electric jazz jam showcasing electric piano and soprano sax. Not terrible, but too generic or mundane in comparison to Vander's vision. It's not surprising that after Cahen and Seffer left the band to form Zao, most of the jazz-fusion elements vanished from Magma's sound.

When it comes to the first two Magma albums, I largely prefer the debut. Although Vander's "Riah Sahiltaahk" easily rivals everything on the debut. Even though occasionally such criticism was valid, it is safe to say that early pre-MDK Magma was not merely "non-descript jazz-rock" as they're made out to be, but actually brought something uniquely Kobaian to the jazz-fusion table. But the total uniqueness was yet to arrive.

Magma - Magma (1970)

Wot's this? Kobaian jazz? Proto-Zeuhl? Avant-garde jazz rock from another planet? However you might classify the overall style of the debut, it's remarkable that Christian Vander and co were already a kicking unit when they released their debut in 1970. What makes this stand out compared to other albums is the presence of a horn section (including flute, lots of it!), along with the combination of acoustic piano and electric guitars (with a bit of acoustic thrown in too), which makes the overall sound seem like that of an avant-jazz combo (or even big band, given the combination of seven instrumentalists backing the vocals), with a bit of rock'n'roll audacity thrown in for a good measure. Throw in the dynamic Klaus Blasquiz on lead vocals with his strong, operatic voice alternating between creepy basso profundo and manic wailing, interacting with Vander's own distinctive screeching; and you have a jazz fusion sort of album that not only works with vocals, but kind of benefits from their presence. That they sing in their own constructed language, makes it all sound even more eccentric.

The music itself is swell as well, all tracks have something to offer, whether it's the awesome riff and groove of "Kobaia", the haunting flutes of wind player Teddy Lasry's composition "Sohia", the insane vocal operatics with free-jazz backdrop on "Stoah" or the eclecticism of the multi-part "Naü Ektila", where they move from pastoral chamber music like parts to rocky grooves to folky melancholy with acoustic guitar and flutes to jazz-rock jamming with awesome horn riffage and great piano soloing. There's even an awesome Pharoah Sanders like section with shimmering percussion and jovial flute in the final composition "Müh". The music can sound alternately intense and mellow, beautiful and ugly, melodic and dissonant. For every gentle flute passage you'll get to hear strident and dangerous horn blasts. Meeting of jazz and rock implies some sort of duality co-existing and Magma's music here is a challenging array of juxtapositions. All held together by Christian Vander's kick-butt drumming. While it's all more jazz-infused and very different from Magma's later work, it's still remarkable that they pulled off a double album this compelling.