Lecture series, part 3-A: Zeuhl
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The next area of progressive rock I’d like to talk about is called zeuhl (pronounced something like, but not quite, “zool”). Like Canterbury, this style of music is also based on one band, or rather, one person. The man I’m talking about is a drummer named Christian Vander, and the band is the French band Magma. I should note at this point that I have very, very strong feelings for Magma, but this is definitely one style of music where I can understand other people’s reluctance and dislike. To understand zeuhl, though, you have to first understand Magma, because it all stems from there. And let me tell you, it’s quite bizarre.
The Magma logoOr something like that. Did I mention that they sing in Kobaian, the language of this new planet? Vander actually wrote a new language because he felt that French didn’t sound right for the story he wanted to tell. There are people who could tell you what it was all about, but frankly the story isn’t that important to me. The music, however, is. And it kicks ass. Vander draws the music from a variety of influences, most notably John Coltrane (whom he has given lengthy interviews concerning. He’s pretty much obsessed with him), neo-classical composers Carl Orff and Bartok, and others. The basic zeuhl sound (I call it "militant opera") is characterized by driving, insane drums playing in almost a march style, and swooping, powerful bass. All other instruments are optional. You might have guitar, violin, or keyboards (usually a Fender Rhodes), and you might have vocals. Magma’s vocals were always done in choral style, with no less than three singers chanting away at the lyrics (hence the “opera”). It sounds strange, but when done right it’s very intense. It also leaves room for a lot of counterplay between rhythms, which they do very well. Repetition tends to play a part as well, and consequently some of Magma’s songs tend to be a bit on the long side (some going all the way two 40 or 50 minutes). The end result is music that has a deep, driving marching pulse from start to finish, and is usually heavily built-up, becoming very intense along the way. Here’s two videos that show not only how intense their music is, but also just how freaky they can be.This first one is part of a longer work called “Mekanik Destruktiw Kommandoh”, and is decent quality, although the bass is a bit down in the mix:The second is a recording of probably my favorite all-time Magma song, “De Futura”. The quality is poor, but you can hear the zeuhl sound loud and clear. (If the first part seems a little boring, skip ahead about halfway through. The bass and drums start playing a slow, driving rhythm, and then start to speed it up, and speed it up, and speed it up . . . very, very fast, and very, very cool):Now that we’ve discussed Magma, let’s talk about the rest of zeuhl: the term has since come to refer to bands started by ex-Magma members (and there are dozens), or other bands who have since sprung up trying to emulate that sound. In the comments, two of the classic offshoots. And then, at the risk of overstaying my welcome on this one, I am actually going to make a second, quicker post to highlight some of the bands that are making zeuhl a vibrant form of music even today.
The Magma logoOr something like that. Did I mention that they sing in Kobaian, the language of this new planet? Vander actually wrote a new language because he felt that French didn’t sound right for the story he wanted to tell. There are people who could tell you what it was all about, but frankly the story isn’t that important to me. The music, however, is. And it kicks ass. Vander draws the music from a variety of influences, most notably John Coltrane (whom he has given lengthy interviews concerning. He’s pretty much obsessed with him), neo-classical composers Carl Orff and Bartok, and others. The basic zeuhl sound (I call it "militant opera") is characterized by driving, insane drums playing in almost a march style, and swooping, powerful bass. All other instruments are optional. You might have guitar, violin, or keyboards (usually a Fender Rhodes), and you might have vocals. Magma’s vocals were always done in choral style, with no less than three singers chanting away at the lyrics (hence the “opera”). It sounds strange, but when done right it’s very intense. It also leaves room for a lot of counterplay between rhythms, which they do very well. Repetition tends to play a part as well, and consequently some of Magma’s songs tend to be a bit on the long side (some going all the way two 40 or 50 minutes). The end result is music that has a deep, driving marching pulse from start to finish, and is usually heavily built-up, becoming very intense along the way. Here’s two videos that show not only how intense their music is, but also just how freaky they can be.This first one is part of a longer work called “Mekanik Destruktiw Kommandoh”, and is decent quality, although the bass is a bit down in the mix:The second is a recording of probably my favorite all-time Magma song, “De Futura”. The quality is poor, but you can hear the zeuhl sound loud and clear. (If the first part seems a little boring, skip ahead about halfway through. The bass and drums start playing a slow, driving rhythm, and then start to speed it up, and speed it up, and speed it up . . . very, very fast, and very, very cool):Now that we’ve discussed Magma, let’s talk about the rest of zeuhl: the term has since come to refer to bands started by ex-Magma members (and there are dozens), or other bands who have since sprung up trying to emulate that sound. In the comments, two of the classic offshoots. And then, at the risk of overstaying my welcome on this one, I am actually going to make a second, quicker post to highlight some of the bands that are making zeuhl a vibrant form of music even today.
Comments (12)
Very informative. Hope you mind me tagging along so long after this all was posted, but I am. I've got to admit a lot of why I signed up for MOG was to be educated. As far as what I've heard thus far goes, I can't say I'm hooked or that I will rush out to buy the recordings you've cited, but it is all fascinating. I look forward to the rest...
One heads up: Don't know if it's my computer but I couldn't play #2 of this series; I got #1 again, the introduction.
Klyde, I'm glad you're enjoying these. And I certainly don't ming the "tagging along"--I'm glad someone's still getting some life out of these!
Magma and zeuhl, and a lot of what goes in these series, is definitely not for everyone, although I think it can suit more people than are aware of it, which is one of the reasons I did all of these posts. I came on MOG to be educated as well, and have learned a heck of a lot, but I also like to spout off about me and mine at times, too.
I can't wait to hear more of your thoughts on these. Oh, and thanks for the heads up about the mislink. I've fixed it, so #2 should be available now. Please let me know if I did something like that anywhere else? I know the King Crimson one at the end is missing one or more mp3's, as Robert Fripp threatened legal action against MOG and they removed all of his stuff, but other than that it should all be working.
Great, thanks. I know how it is--how many times have I listen to an album once and twice, and it did nothing for me. Then, I listened a third and fourth time, then a fifth and a ten, and I was enjoying it. After twenty lsitens, I was anxious for the next, and so on... Some music grows insideously. I suspectmuch of the music you've posted in this series qualifies. Thanks agin.
Time and order within the intentional chaos.
A profession of enjoyment? Or merely an observation? Reading over this, some of the post didn't make the transition to the new MOG. I'd say about a whole paragraph is missing, as is at least one picture. Kind of a shame. Also, in a more personal note, I really need to work more on my spell checks!
A profession of enjoyment, yes. I'm learning to be more open minded as I continue my MOG journey, and enjoyed Magma more than he first time.
Glad to hear it!