Magma
Attahk

In 1978, Magma released “Attahk”: the group already had a few masterpieces under their belt, such as “Mekanïk Destruktïw Kommandöh” (1973), “Köhntarkösz” (1974), “Magma Live” (1975), and “Tristan et Iseult” (1974), attributed solely to Christian Vander but in reality an essential album of the “magmiana” discography. “Attahk” follows the excellent “Üdü Wüdü” and is unjustly underrated by some when in fact it is one of Magma's best productions. The critics talk about disengagement, an album that leans towards funky and soul, losing the dark and martial “Zeuhl” characteristics that were the true hallmark of the group. It is indeed true that the music is less dark and more accessible than usual, incorporating elements of jazz, funky, and soul, but all this absolutely does not detract from the quality of the compositions: how can we forget that the spiritual mentor of Christian Vander is John Coltrane? The fact that the sound is less gloomy and more accessible certainly doesn’t mean a relaxation and greater commercialism. “Attahk” is indeed the confirmation of a progressive project in the true sense of the term that manages to renew itself and does not remain the same. The stunning cover is the work of the legendary Swiss artist Hans Ruedi Giger (creator of other prog icons like “Brained Salad Surgery” by ELP). For the occasion, the lineup compared to the past is revamped: the bassists Jannick Top (a true genius) and Bernard Paganotti are gone, but another exceptional musician of this instrument, Guy Delacroix, is recruited: his work proves to be very important in the economy of the album as he literally doubles the sound of his bass. Besides Christian Vander on drums and keyboards, we find the trusted Stella Vander and Klaus Blasquiz (a bit sidelined here) with Lisa “Deluxe” Bois on vocals, Tony Russo and Jacques Bolognesi on winds, and Benoit Widemann on keyboards.

The first track “The last Seven Minutes” is extraordinary: Vander's performance on drums is incredible, with devastating power while the settings are in pure Zeuhl style with the bass prominently featured. The following “Spiritual (Negro Song)” is a Gospel with a Zeuhl twist: it's impossible not to be caught up by these enthralling sounds. In “Rinde,” the voice of Stella Vander takes the lead, accompanied by piano: another great moment loaded with epic Kobaian. With “Lirik Necronomicus Knat (In Which Our Heroes Ourgon And Gorgo Meet),” Magma once again prove to be both brilliant and deranged: the vocals are astonishing and surprising, Guy Delacroix's bass lines are spectacular, the group has definitely found a worthy replacement for Jannick Top. In “Maahnt (The Wizards Fight Vs The Devil” the interplay between instruments is perfect: the bass and drum rhythm section is powerful and martial, the keyboards are spectral, the voices truly unsettling and otherworldly while the brass gives the sound a triumphant grandeur. “Dondai (To An Eternal Love”) is characterized by calmer atmospheres: the piano again finds space along with a nice pulsing bass. The final “Nono” is one of my favorite compositions by Magma: the keyboards are the main protagonists, dark and bleak as already heard in “Üdü Wüdü,” Vander's drumming is simply perfect as are the bass and vocals: another great example of Zeuhl in its purest form.

“Attahk” is a great album that confirms all the value of this exceptional band that has managed to elevate progressive to heights never reached before.