Customer Reviews

Kohntarkosz

5 star:		(8)
4 star:		(3)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

With this album, Christian Vander intiated another Kobaļa cycle (after the "theusz hamtaahk" cycle); the so-called ėmėntėht-rė cycle, which so far is only represented by this album, although "Live" and "üdü wüdü" also are somewhat related to it. It concerns a man who enters the ancient Egyptian tomb of the priest ėmėntėht-rė who was assassinated before achieving immortality, the man experiences the spiritual quest of this master and his contact with the Egyptian deities.

Vander continues his emphasis on trancelike minimalism, using repetitive themes creating an increasing mantralike intensity. Köhntarkösz is Magma's most dark, sombre and intense piece, the piece is better structured than the MDK. Which piece one prefers is of course a matter of taste, myself I find Köhntarkösz the better one and the best Magma track.

This version has a more instrumental emphasis than MDK, also this studio version's vocal parts are not fully developed if you compare it with the incredible live version on "Live". I recommend that you also try to find the "BBC Londres 1974" CD which provides a slightly different, yet equally impressive live version with the same line-up as on this studio album (but with Claude Olmos on electric guitar, instead of Brian Godding).

The sombre repetitive music, consists of, as a previous reviewer has mentioned, of rising and falling themes (darkly forbiding/beautifully calming). It gives the impression of a musical vortex going deeper and deeper, like digging itself down deeper and deeper into the dark abysses of lava. It also made me think of dervishes in their swirling circular dances, rotating faster and faster. The intense build-up culminates here in a great organ solo by Michel Graillier. Jannick Top's atypical growling bass style has probably never been better captured than here.

The other two tracks are weaker though I myself like them a lot, Jannick Top's "Ork Alarm" is quite dark and suggestive, with Top on vocals/bass and cello. Vander's "Coltrane Sündļa" is a simple yet very beautiful piano piece, a very fine tribute to Vander's musical mentor, the genius of modern jazz, John Coltrane.

Hypnotic, oceanic, intense, soul-shaking, transcendent...these terms can continue to eternity, yet I don't think I'll ever come anywhere close to describing the feeling I get when listening to this wonderful piece of art. Drummer and composer/conceptualist Christian Vander (& company) took quite a different turn with _Kohntarkosz_ (1974), as it's very different than the massive, operatic, choral voice-soaked _Mekanik Destruktiw Kommandoh_ (1973), yet, this album is in no way inferior -- I find it to be just as strong, and deserving.

How to even describe this? Is it jazz-fusion? Maybe, but not the kind of jazz-fusion you're normally accustomed to. It's more like fusion-trance: a progressive form of rock which embodies traces of 20th Century classical music, and even subtle elements of free jazz. To make a long story short, the music is just as mysterious as the cover art suggests.

The title track is 31 minutes, and is split into two halves. Of course, this is, without question, the centerpiece of the album. It opens up with a suspended instrumental section: oceanic synthesizer textures encircle the atmosphere, with Christian Vander playing some seemingly improvisational, technically demanding drum fills to exhibit tension, and to set a distinctly regal mood. Then, a little later, the synthesizer textures begin to increase in weight and dynamics, and then these Africanesque chants are lightly smothered underneath the oceanic surface. This opening section alone is one of the most powerful and original moments in rock -- or to say the least, is one of my favorites.

What follows for the rest of this first half are repetitive odd-timed rhythms, mysterious chants, moody and ominous synthesizer textures, and other things that are hard to describe. When I mention the term 'repetitive,' I'm not referring to the pejorative, derogatory sense of the word. This smorgasbord of repetitive motifs can produce a powerful trance if you allow yourself to surrender to it's majestic aura, or, you may find it a bit boring.

The second half opens up with some elegant piano notes, which are shortly followed by some hypnotic, seductive, soothing vocals. From there, tension begins to be exercised: first, in subtle ways -- which are partially exhibited in the ascending notes -- and later, more aggressively. Shortly after, this elongated R&B-infused heavy rock jam comes in. Vander is playing a steady, funky rhythm, and displays an explosive fill when necessary, guitarist Brian Godding is playing some feverishly burning solos which tear right through you in their sheer speed, volume and passion. In some places, they almost mimic a saxaphone -- particularly of an atonal flavor. And, on top of it all are these powerful, spiritual vocal chants. And, as the time progresses, these vocal chants begin to increase in volume and dynamics, more vocals come in, the cymbals become more pronounced, and finally, you're engulfed in an oceanic, exotic, gospel-flavored, Africanesque chant-fest which just raises the roof off of any building this is played under -- or rather, this gives me the goosebumps, and gets my soul (and body) shaking in ecstasy everytime I hear it. It's THAT powerful, elevating, penetrating and intense.

Bassist Jannick Top writes the creepy, majestic and atonal "Ork Alarm," while "Coltrane Sundia" is a beautiful tribute from Christian Vander to his jazz hero, John Coltrane. It's an ethereal number with encircling piano textures which create a pillow of soothing, entrancing ambience.

This is brilliant, powerful, and original music of the highest order. It was not the easiest thing to put into words, but there the attempt lies. Recommended for all that apply.

An excelent album. Vander uses his minimalistic technics and drums/piano abilities to create intense and precise melodies. The first two songs are fantastic... Kontharkosz I and II are rare songs, to be listen carefully. Pay attention to the rithm variations and to the "duel" piano/drums. Beautiful vocals on Kontharkosz II, excelent keyboards effects, a classic. Vander's sensational drums. Ork Alarm is a visceral song, rustic and misterious, like a medieval ritual. Very creative jannick top's cello. Coltrane Sundia, the last song, is soft an a little bit "jazzy". Excelent piano harmony, but too calm in comparision to the rest of the album. You can't compare Kontharkosz with MDK or 1001 degrees centigrades, but it's a perfect album. Another composition direction, but the same ideal.

Hail Magma!

This masterwork is as subtle as it is fierce. It works on a grand scale as a single cohesive conceptual unit. For example, the doomiest segments are generally rising themes while the more "pleasant" segments are generally falling themes. If you were to chart the intensity of the piece you would get the same shape as almost every classical masterwork designed to maximize emotional impact. The jarring juxtaposition of light themes in major keys and dark themes in minor keys represents hope in the midst of doom, a central theme in the Magma lyrical storyline.

If you are not familiar with Magma most people suggest starting with "Live". Your second album should be this one or MDK. Personally, i think Kohntarkosz is better. The title track more is clean and precise than it is on Live and the solos are much more remeniscent of John Coltrane. Speaking of Coltrane, listen to the first few measures of John Coltrane's "A Love Supreme" just before you listen to "Coltrane Sundia". Subtlty abounds.

My first Magma album was "Kohntarkosz Anteria," which grew on me like kudzu and gave me persistent song worms for days (not a bad thing). So of course, I was eager to hear its sequel, the original "Kohntarkosz."
Well, at first listen, I was kind of disconcerted--not much seemed to be -happening- here! It took two more listens before I "got it": whereas "K.A" was something like an oratorio, and "MDK" like an opera, "Kohntarkosz" is actually a -soundtrack-. The protagonist is exploring an Egyptian tomb and has a waking vision of Emehnteht-Re, who reveals his untold secret of immortality. In that context, the music all makes perfect sense, particularly when you close your eyes and let it paint the pictures in your mind. It actually reminds me of the classical music of the Romantic period, particularly Smetana.
(Another reviewer has commented on the weird fade-out at the end of Part 2; the reason for that is that there is a -third- installment of this trilogy, of which "K.A" is first and "Kohntarkosz" second--the upcoming "Emehnteht-Re," due for release this year.)
I very much enjoyed "Ork Alarm," although the song ends before the actual "battle" takes place (I hope the Kobaians won, and that they did not have to use the "Stoah" on the Orkians). And "Coltrane Sundia" has almost a lullaby quality to it, most appropriate to its subject matter. It reminds me slightly of U2's song "MLK" from "The Unforgettable Fire"--I wonder if Bono ever listened to Magma?
In closing, if you buy this album, I advise two things: 1) Close your eyes for the title opus, and 2) listen to the two "odd" tracks separately, as they are better enjoyed apart from the rest of the album!

For me Magma (like the best prog or good music in general) is an acquired taste. You either love 'em or hate 'em. And that is simply because they are playing something you have not heard in any other group before. Their mix of nordic choral, 20th century 'classical' music, rock and jazz is simply a mix that's truly original. Do not fool yourself thinking this is another prog band that follows other groups path. Magma made their own road and is up to you if you want to go and ride it. This is one of their classic albums. Highly recommended to the thrill seeker!

I've only had this album for a few days, and it has, in short order, become my favorite purchase in quite some time. I can honestly say that this album is quite unlike anything I've ever heard, and it's musical and emotional peaks are simply staggering. I hear elements of Mahavishnu, Orff, and early music, yet its sum effect is something completely different than any of them. The idea that this album offers mostly difficult noise is simply completely off base. It is very through-composed, with impressive improvisation in spots (and killer drumming throughout). Although I don't know if this music is traditionally "accessible," I certainly found it immediately likeable and intriguing. Since then, it's only become more forceful, in my mind. I've already ordered another album of theirs (no slight thing, since it cost me $30), and I'm excited to see what other surprises Magma holds. If you have even slightly adventurous tastes in music, and if you can find this record, I can't recommend more highly that you get it.

Whatever your reaction to the term "concept album", try "concept library" on for size. Magma has almost entirely devoted their output to a theme surrounding the fictitious planet Kobaia. It's a bit like Paul Kantner's "Blows Against the Empire", in which Jefferson Airplane first began using the name Jefferson Starship. That album was built on a leftist hatred for the Western world and the "evil" it represented, so why not hijack a starship to get away from Earth completely. The leftist spelling of "Amerika", with the Germanic "K" implying fascism, appeared in that album's lyrics prominently. In Magma's case, they came up with an actual imaginary planet Kobaia, which some might find it tempting to compare with the musical "Hair's" planet "Exanaplanetooch". For more on Magma's Kobaia, see their other work. But maybe leader Christian Vander found that whole concept a bit confining to devote one's whole body of work to (after all, the Ring Cycle wasn't all that Wagner did), so he gave us this album with a humongous jazzy jam (the title track) as an indicator that Magma was a bit like Soft Machine, more jazz than rock. The problem with this version of the track(s) is that you can find a better version on Magma's "Live"--it actually sounds improvised on that version. So what we have left is two short pieces. I usually love the long stuff, but my favorite here is "Ork Alarm", which sounds like the backing tracks of "Eleanor Rigby" if that song had been written by the composer of the film "Psycho's" opening credits theme. Which is to say, spooky and cello-driven. The whole accusation that progressive is centered on taking yourself too seriously when the whole point of rock is to have fun is bluntly countered in that track when some really broad guffaws start to come in on vocal tracks not used to that point. And of course "Coltrane Sunda" is in honor of the great 'Trane himself. This album is that rare change of pace offering that makes for a better understanding of the artist(s).

This is definitive Magma: complexity made beautiful with power, meditative trances, incredible levels of intensity. This is one of Christian Vander's high points as a composer. Don't be put off by those who say _Kohntazhkosz_ is repetitive and boring. This is BRILLIANT. I don't know enough to grasp the full complexity of it and explain how it works, but I can say it does work...very well.

The title track is the main focus here, of course, and because of it this one of the definitive Magma studio albums, along with _Mekanik Destruktiw Kommandoh_ and _Wurdah Itah_ (which is *technically* a Christian Vander solo album but everyone thinks of it as Magma, because that's what it is). "Kohntarkosz" is about 30-minutes long, split into two tracks due to the limitations of the initial LP. This is simply flawless not only on technical merits of rhythm, harmony, and melody, but also its pure emotion and spiritual rush. The first half spend a good deal of time weaving time and counter-time layers to build tension and a disorienting sense of transformation. For nearly fifteen minutes it progresses with the slow inevitable drama of a ship sinking into the ocean. Vocals are the primary melodic device, with the expanded lineup adding seas of hypnotic texture (a guitarist and more keyboards). Then there is a brief, mellow transition before the culmination of the piece begins. Another repetitive section appears, but it is palpably more urgent with its desperate ascending scale motif, developing to a point where all the tension collected in the first half is violently released. Brian Godding's guitar solo is like the spirit tearing free of its material anchor, the body, then the high-intensity shouted vocals and growling zeuhl bass and Vander's cymbal-heavy trance-drums and elating crescendo resolves with a climax insinuating the attainment of ultimate power unmatched by much anything. The ominous fade-out is kind of unsettling though. Ok my description is pretty crappy but I think this really proves Christian Vander's genius in completely rethinking the marriage of jazz, classical, and rock. In the Kobaian story, this song deals with a man who seeks the tomb of an Egyptian master called Ementeht-Re who was assassinated before attaining immortality. This piece represents the revelation of godhood observed in the vision of Ementeht-Re.

The other two tracks are pretty underwhelming compared to the title track, which is understandable (how can you top that?). Nonetheless, they are very good in my opinion. "Ork Alarm" features Janick Top's sawing cello and choral vocals in a scary march. "Sundia Coltrane" is a pretty piece for piano and guitar.

I have written this review with the assumption that you know the gist about Magma already. If not, this is not the album you will want to check out first -- that should probably be _Live/Hhai_. But make sure you come back here when you've been absorbed into the Kobaian universe. This is a trip you shouldn't miss.

Magma have finally developed his unique stile on this disc. Growling bass, strange but beautiful vocals in their own language, the marcial battery of christian Vander, all of their principal characteristics here. The title track is maybe their best ever, growing from a stigian theme to the powerful and unforgetable final. Essencial, if you like things that may change your life! The rest of the disc is not on the same level, although.