Magma: spring 1973: Jannick Top was the bassist; he stayed with the group
until the end of the summer in 1974.
Magma: autumn 1976: Jannick Top returns.
This reunion is not one of those chance occurrences, too often found in the formation or the deformation of groups; it comes after two years of reflection, of reconsideration of the problems posed by the way of life of a group. It also comes after two years of work, as much for Magma as for Jannick Top (the numerous studio sessions have been a good opportunity for him to research and learn).
The fruit of this return is an LP (which is due very shortly) which is certainly surprising: side 1 consists of quite short pieces (composed by J. Top - Christian Vander - B. Paganotti) quite similar to the little Japanese poems which can be reduced to a single phrase, to a very banal image, yet are very dense, carried by their energy and force; side 2 is a sole long piece composed by Top.
Therefore, it is evident that Magma have now settled on an new association of two people, each bringing that which they have to bring.
The text that follows is the transcription of a talk with Jannick Top, which took place on the 17th of September 1976:
ONE STONE MORE, AND THEN ANOTHER STONE...
"In contrast to the Anglo-Saxon groups which have a musical base and a rock
music community, French musicians possess nothing similar. They have to construct
an edifice, stone by stone. This means that the will of an individual has to
be accepted from the start, because that's the only way to embark on a team
effort. That can cause problems, but once they are overtaken and mastered, the
communal energy is released and it radiates".
THE CHALLENGE
"The team work (actually started by C. Vander when he was seven years old) gives
Magma a severe test where each strength will be able to express itself if it
carries enough dynamism, where the music is open and will remain so, and it
is a dialogue; firstly between the musicians who serve each other, and consequently,
inevitably, with the public. Furthermore, the current musical climate in France
is extremely harsh. Almost everything is governed by money and it's always managed
in the same sense. The profitability has to be evident and immediate for the
people in control (the record companies, etc.) this explains their hesitation
in assisting a music like that of Magma. It is very difficult to do something
without assistance; that is a supplementary reason for teamwork in order that
the forces are combined to avoid being crushed by the machine that has broken
many others."
"We lay claim not to destroy those who already exist, nor to intervene in their music, but it would need a place for everyone; in fact there is practically no free choice: it's just French pop (variety) or American music. The vicious circle is buckled. The French musicians willing to do other things not being very numerous, this circle is still far from being broken; those who allow themselves to follow their aptitude would be able to react, if they don't do anything, they alone are responsible".
OPENING A BREACH
"Clearly, the reactionary path is not easy, but once the decision is made, the
essential thing is to do what you have to do, all it needs is time, the path
will doubtless be long but perhaps one day we may be able to hear Magma's music
played on the radio!"
We have to open up a breach by which this music will pass, and to be armed with patience and wisdom..."
IF ONE WERE TO DREAM
And if Magma were to receive a subsidy?!!
For sure, there would be a chorus of disapproval; the myth of the cursed performer
is still so alive... Just to reassure these aggrieved souls, this is only a
dream, far short of reality; but everything needs to change...
THE ROOT OF THE PROBLEM
"Why is the music of Magma not given assistance, why is it so often streaked
with the muddy paths of slander? Above all, because it is like a spotlight which
denounces the slackness and mediocrity, and that the only possible defence of
these mediocre minds is slander. But it is more engraved: this music troubles,
even if this is an unconscious feeling of discomfort, because it is directly
connected to the beat, which is relative. We act, in our minds, like eternal
beings; and this music, if we are sincere, enables us to gain conscience of
the contrary world, to notice all that is wrong."
"This grasp of consciousness has to help us to do things in another spirit,
the notion of target is transposed; one is no longer able just to do, in the
passage given to us one can only be. One then arrives at not to do, this is
not negative, quite the opposite... The path of time and of the ultimate passage
is hidden by lies! If one suppresses these lies, these devices, what danger!
One would then arrive at having no need for words; no longer needing explanations
or analysis... The music is a vehicle, one chooses one way or another; they
are multiples.
It needs to be listened to... to be tasted... Let the music speak...."
Very soon the Magma album: 'Üdü Wüdü' will be released, and in the course of
1977:
- a solo record by Christian Vander
- a solo disc by Jannick Top
- another record by Magma.