MAGMA are one of the truly unique groups of the modem music world. They have no predecessors, no successors and probably never will. Yet they have been the springboard for over fifteen solo careers and the overriding influence for several classic groups of that period such as METABOLIST, UNIVERS ZERO and ART ZOYD.
In 1980, the group had been in existence for ten years and to celebrate this achievement, the MAGMA "retrospective" was staged at the Paris Olympia. Guided by founder members, vocalist Klaus Blasquiz and drummer "par excellence" Christian Vander, the event consisted of three six-hour concerts featuring over twenty musicians that had played in the group in its first ten years. The fact that all three concerts were almost sold out, shows the stature that the group commanded, in France at least.
The French concert is a different kettle of "poissons" from the usual concert in England. No security guards in evidence, a bar in the actual hall, as well as outside, cameras in abundance and a positively party-like atmosphere. With such good vibes, the event was the cause of even greater expectations than when I heard it was to take place, two weeks before.
The lights go out, the audience cheers with anticipation and the first MAGMA line-up of the evening saunters onstage. This is the line-up from 1969 - 1971 featuring Francis Moze on bass, Claude Engel on lead guitar, Francois "Faton" Cahen on electric piano, the three-piece horn section of Seffer and Lasry on Saxes and Toesca on Trumpet, plus Vander and Blasquiz. Opening with 'Kobaïa' from the first album and continuing this first set with two tracks, written by Lasry and Cahen, from the second album. The Jazz influence is very apparent with all members having shares in the soloing with very much a band-sound as the tracks swing along in time-honoured manner. Seeing this line-up it is clear that Vander has consolidated and fused his Jazz background with his own music and conceptions to create a brand new form of music. The sound is loud, the P.A. crystal clear and the group are on top form.
The lyrics (in 'Kobaïan') are introduced for the first time. The main reason why Magma are not regarded worldwide as a truly innovative group stems largely from the fact that they sing in Kobaïan, a language composed by Christian Vander. It is no ordinary language, being one that is more heart-felt than understood. This has been the big turn-off for many thousands of potential fans, but with an open mind and heart this bridge can be crossed quite easily. The lyrics will become apparent and meaningful to those who can put themselves into the music.
In the other numbers, the horn section blow themselves into an utter frenzy whilst two uplifting solos come from piano and guitar. A short set ends to much cheering and Klaus Blasquiz announces the imminent arrival of the '75 - '77 line-up after a short break.
So after a lager and an Eskimo (yes, ice creams were on sale in the hall, too), the lights go out, the audience cheers even louder, and… Silence. Intentional silence as the group waits. Then a short sharp and loud shout from Blasquiz heralds the arrival of 'Köhntark parts one and two' followed by a hail of frenzied activity from Vander on drums and cymbals, Bernard Paganotti on bass, Didier Lockwood on violin (with a cape Batman would be proud of), Patrick Gauthier and Benoît Widemann on keyboards and Gabriel Federow on lead guitar. The vocalists Blasquiz and the gorgeous Stella Vander set the piece in motion and we are treated to thirty minutes of spectacular playing and singing, of which the main high point is Lockwood's violin solo midway through part two. Whereby he reaches and causes an emotional intensity that you feel than if you don't explode then the concert hall must. This line-up is possibly the most successful band, in commercial and musical terms that Vander has put together, with only Jean-Pol Asseline absent from the original line-up. (Gauthier took his place on keyboards).
After such an amazing track, the group then take you even higher with a fierce rendition of the, hitherto unrecorded, 'Theusz Hamtaahk'. After the initial burst of frantic vocals, there follows some spacey vocal interplay from Vander, Vander and Blasquiz before the whole place is switched into overdrive and look, Christian Vander, using a drum signature that would make the 'Bolero' look easy for a child, hurtles into an express train rhythm that combines with the omnipresent growling that threatens to explode at any minute and gradually engulfs the hall as all the lights go out and the music gets louder.
Just as you feel that you're about to be engulfed yourself, the piece bursts like a bubble and the vocalists bring it back down to earth, before the whole thing is taken to an even higher emotional peak by another incredible solo from Lockwood, all the time accompanied by the awe-inspiring rhythm section and keyboards. End of part two and Klaus Blasquiz announces to the audience who are giving MAGMA a standing ovation (and we're only half way through) that MAGMA 1980 version would continue in fifteen minutes.
Sure enough, the new MAGMA is as different from the previous line-up as that was from the first line-up. Opening with a rapid-fire funk bass and clipped drum signature sequence, Blasquiz, in a fluorescent orange boiler suit with mirrors stuck to it in a random sequence, intones the audience to roar approval (if my French is correct)... and they do. After a short burst from synthesiser stage right and guitar stage left, the MAGMA musicians, notably Vander, Dominique Bertram on bass, Jean-Luc Chevalier on guitar, (the two aforementioned wearing purple boiler suits and sporting giant safety-pin shaped dark glasses!), Benoît Widemann and Jean-Pierre Fouquey on keyboards, are joined by Klaus, Stella Vander, Lisa Deluxe and Maria Isabella Popkiewicz (all four in similar orange outfits) in a previously unrecorded number 'Retrovision' that features the vocals much more than before and includes a scaring solo from Chevalier on guitar, halfway through, like all Vander's compositions, the piece constantly changes pace and mood but this always serves to enhance the overall compelling nature of the work rather than lose it altogether.
After this, the familiar piano intro to 'Hhaï' is heard and Vander steps up from his drum kit to perform lead vocals, a truly uplifting moment. Like in his drumming, Vander throws every little bit of himself into his singing and it comes over not only as a superb lead vocal effort but also as a truly magical performance. At this point, Francois Laizeau supports Vander on percussion, a new find and from his work here and in the next piece performed, the nearest thing to Vander style and intensity I have yet to hear, although still a long way behind the master.
Between 'Hhaï' and the final piece of the set, the musicians change stage positions. Laizeau takes Vander's place, the three girl singers move to the back of the stage on a raised platform, the keyboard players and guitarist don't move and the bassist Bertram is joined by second bassist Paganotti. Using a vast Sci-Fi space arena projection, 'Zëss' is set in motion with some gentle instrumental work and ethereal female vocals. Then a figure clad in a Darth Vader type helmet rises from a pedestal at the back (It's only Blasquiz, I hope) to announce in French that we are all going to die and that he's grateful for it. There follows a long French recitation from this Lord of the Universe, before he disappears and the piece begins to move. Then Vander, in a bright purple space-suit affair, makes his appearance centre-stage on lead vocals. There follows some of the most incredible theatrics and costume design appearances as Vander and Co. unfurl their story. Vander's singing is positively breathtaking and the band perform another tidal wave of music with the listener totally absorbed throughout. In this piece Chevalier performs another guitar solo that is so intense it could bore through several inches of steel plate. The visual aspect is heightened when the three women enter, dressed in skintight space outfits, and proceed to become lead vocal counterparts to Vander in a brilliant vocal display. The end comes, but Stella announces that the finale is due in ten minutes.
The audience have been present for five hours and have given every song rapturous applause. Ten minutes later, the lights go out and a slightly disguised piano intro, care of the excellent Benoît Widemann, heralds to the crowd, even after only a few notes, the arrival of the MAGMA piece that is their most famous and their "tour de force", the awe-inspiring, 'Mekanïk Destruktïw Kommandöh'.
The announcement of these words by Blasquiz sparks the, by now, seventeen piece band into what, on the final night, must rank as the best version of 'Mekanïk' ever played by a MAGMA line-up. Three bassists, three guitarists, two keyboard players, two percussionists, one violinist, five vocalists and Vander create the most delicious, gigantic wall of crystal clear sound that has ever assaulted an audience. To describe the peaks of joy, which this piece attains, is a hard task. The highlights of the number are an Earth-shattering bass solo from Paganotti, accompanied in part by the Banshee-like synth-violin wailing, and a solo from Lockwood on violin, which reaches such a high emotional level that he ends up on his knees with blood pouring from his mouth, before the band hurtle on a collision course to the end of the piece and the end of the event. No encore, but how could there be? Nothing could follow this.
The event was of course recorded and at the time I hoped that when the album was released it would not only achieve worldwide success that had so far eluded MAGMA, but reveal to everyone that Vander is following firmly in the footsteps of Charlie Parker, John Coltrane and Jimi Hendrix, as one of the few geniuses of his instrument and compositional mystery.