siLLy puPPy The musical times were a-changin’ and even the Kobaians were influenced by the heavy gravitational forces of the music industry. MAGMA had broken up for a year after “ÜDÜ ẀÜDÜ” but Christian Vander decided to resurrect the band two years later with an entirely different lineup and with it an entirely different sound. Out of the thirteen musicians and vocalists to be on the previous album, only Vander himself, vocalist Klaus Blasquiz, vocalist Lisa Bois and keyboardist Benoît Widemann returned for the sixth MAGMA album ATTAHK. Out were Bernard Paganotti and Patrick Gauthier who left to form Weidorje as well as the enigmatic Jannick Top whose contribution was seemingly irreplaceable and the musical cast has been trimmed down to a mere eight performers. This is a strange album in the MAGMA discography as it seems utterly disjointed from the rest (still haven’t heard “Merci” though.) Gone are many of the complexities from the first few albums and gone are the interesting developments of “ÜDÜ ẀÜDÜ” and instead what we do get is a more watered down version of zeuhl mixed with a lot of more accessible musical styles.

A lot of this is a matter of personal taste, of course, but i just don’t find this album as enchanting as the rest. Kobaian music, after all, isn’t supposed to be designed for Earthly consumption. It is supposed to be alien and take you somewhere you never considered. ATTAHK never seems like it is going anywhere specific and randomly lollygags through a rather MAGMA-by-the-numbers approach of shortened takes on previous albums. Take the first track “The Last Seven Minutes” for example. What we get here is a zeuhlish take on funk where it sounds like Vander is trying to take his vocals to new levels. After several minutes of this funky zeuhl we get some of his most intense screeches and high pitched squeals ever. The only problem with this for me is that it ends up sounding like a cross between the high falsettos of Prince from the “Lovesexy” album mixed with the trills of an orgasmic Edith Piaf. It seems incessant at the end and i am left wondering just what he had in mind with this one.

For some reason i’m just not keen on this simplified version of MAGMA. I am hardly against pop music and when progressive pop works for whatever reason i am quite receptive but this album drifts hither and tither without developing those elements sufficiently. That said, this album isn’t totally without its merits. It’s really the first two tracks that turn me off totally, but starting with “Rindë” (which would be stolen and incorporated into “Ëmëhntëht-Ré” like tracks from other MAGMA albums) the pace picks up and although the tracks are short, sweet and to the point they at least sound more within the Kobaian universe of intergalactic Top 40 hits at least. There will be many familiar elements from the past only embellished with much more Vander falsetto squeals laced with healthy doses of funk, R&B, gospel and pop elements. My favorite track on here is the closing “Nono” which has a bass worthy of the departed Jannick Top being on board.

This is an album that is hard for me to get excited about but is an ok listen when all is said and done. Just expect a MAGMA lite and you won’t be too disappointed. Definitely one of the weaker albums in the discography but this is MAGMA after all and even the bottom of the barrel has a lot of interest and worthy of adding to any collection. I personally like the album cover a lot but despite its über-hipness by H.R. Giger, the music just doesn’t measure up to the expectations i had for it. As good as some of these tracks are it isn’t quite the otherworldliness that the Kobaians have been so adept in spoiling us with. This MAGMA stream isn’t exactly a steaming hot pyroclastic flow of originality laced with Kobaian litanies of tales of extraterrestrial phenomena but hardly a throwaway album either.