FunkFreak75 There are several things that set this album apart from other Magma albums that I have heard. First and foremost is the amazing cymbal play of drummer extraordinaire, Christian Vander. Second is the way in which Magma have refined and mastered their delivery format for their stories from the world of Kobaia. And third is the way in which the long-time band members have mastered and refined their vocal instruments: Stella Vander, Isabelle Feuillebois and Herv' Aknin (and even Klaus Blasquiz, who does not appear on this album) are simply astounding. They are solid as rocks. They are so seasoned that it is hard to discern any flaws in their work. It must be so nice for band leader, Christian Vander, to have such companion/collaborators who seem so unwavering in their support and who are so dedicated to this form of music, to the vision of their band leader, as well as to the betterment of their own skills. While I have to admit that I find Slag Tanz slightly less engaging than Magma's previous recent studio releases, however, I find it hard to rate any modern recording of Magma's with anything less than five stars because the composition, performances, and recording/engineering is so consistently strong (even though many of the compositions were composed decades ago and have been performed live for years). It is my strong opinion that we music listeners are so very privileged to have the recordings and concert performances of an artist with such strong and independent vision who always composes and performs at the absolute highest levels every time (and, of course, demands the same of his collaborators).

FunkFreak75 Beginning like an ANDREW LLOYD-WEBER musical doesn't hurt this piece by Zeuhlmeisters, MAGMA. As 'dark' or heavy at it tries to be, the whole thing comes across more as a Dickensian Christmas play written by STEPHEN SCHWARTZ and/or BURT BACHARACH. Awesome bass play, as usual, very melodic piano and perfect drumming from founder CHRISTIAN VANDER help carry this operetta, but it is the wonderful, delicately woven vocal performances that the listener has a chance to really tune into. The lack of hard driving, mega-pulsing music and power vocals is, as a matter of fact, quite unexpected. Yes, the album is brief (by modern standards), but 37 minutes is right in line with a typical vinyl album (unless you are Todd Rundgren). Though the album is really meant to be played straight through?and I love all of the songs here?I must admit to really enjoying putting "Teha" (5:15) (10/10) on repeat ad infinitum. As a matter of fact, the first five songs all flow together seamlessly, flawlessly, beautifully. The most Broadway of all, however, is "Ohst" (4:53) (10/10) with the bouncy piano and the voice of the Maestro, himself; CHRISTIAN VANDER is brilliant, astounding! I mean, how old is this guy? Playing off of HERVÉ AKNIN, it is quite a song. Even the end is very Broadway-like?like the ending to a song from Fiddler on the Roof or something. I have to admit that hearing an upbeat, positive sounding album from such masters of melodrama is quite an unexpected experience, but it is an entirely enjoyable one.

Another masterpiece? I can't see this little beauty as anything less. 5 stars.

FunkFreak75 A very polished, mature MAGMA, with some new sounds (vocally), some great sound recording, some missing sounds (horns), and one of the best Zeuhl 'songs' I've yet heard (I'm still very new to this sub-genre, but I LOVE ZEUHL!! I think this is the music I've been missing--that I've been waiting for--since 1989 [when I gave up on rock/pop/prog music].): part "III"--and part "II" is right up there, too. While I am rating this 5 stars--for it is a masterpiece of progressive rock music--I do not hold it as dear as MDK or even Wurdah Ïtah; there is something magical about the energy and spirit of those 1970s records--perhaps it is youthful idealism (Did Christian Vander believe he could create a personally- and even socially-transformative mythology back then? Does he still?) Still, I admire he and his crew of Kobaians who have stood steadfastly within this music and its message over the past 40 years.

FunkFreak75 Magma "2" following some of the patterns established by the band's first album in that the three long songs contained here are each credited to different composers: the opener (and by far longest) to Christian Vander, the second to Ted Lasry, and the third to François Cahen. In an unusual move, the band decided to record without a guitarist after the departure of Claude Engel. Also, tensions within the group were mounting with regard to which direction the music was to go. This resulted in the splintering off of members Yochk'o "Jeff" Seffer and François Cahen to form their own group (which would be called Shekina).

1. "Rïah Sahïltaahk" (21:45) constructed in a big band fashion with lots of staccato motion with lead vocalist Klaus Blasquiz doing most of the story telling throughout (and a complete absence of female vocalists!). The opening passage is segued to the mid-section by a two minute passage of theatric orchestral effects while the cinematic mid-section sounds and feels quite like a Burt Bacharach film soundtrack passage, though a little more dramatic due to the Blasquiz effect. Still, the "Do You Know the Way to San Jose" and "South American Getaway" motifs and feel are quite noticeable--though there is also quite a few moments that remind me of Leonard Bernstein sounds and motifs. Powerful but less engaging, less hypnotic, than many future compositions. (32/40)

2. "Iss Lanseï Doïa" (11:46) as is common with Ted Lasry compositions, there is much more of a familiar jazz foundation--here modern and very much in line with other contemporary film soundtracks--and the softer, more nocturnal side of humanity seems to be expressed more in Lasry pieces. There are still multiple voices being explored, but here it is done through a cacophonous horn section, each spouting its own voice and pace. Mid-song there is a break down in which only the horns play their plaintive discordant weave, but then bass and male choir enter to prep us for the cohesive horn and keyboard support of a section of deep-gutteral alien-sounding narration. The horns and piano are actually being used as two separate voices of this civilized intergalactic "conversation." Cool! (17/20)

3. "Ki Ïahl Ö Lïahk" (8:23) less jazzy, less staccato, but still founded in what were current principles of cinematic soundtrack music, this piece feels to me closer to the music that Eumir Deodato and Herbie Hancock were exploring at the same time. A nice, unobtrusive piece of lounge jazz. (12/15)

The music of "2" or "1.001* Centigrades" is definitely a step forward in the progression of the establishment of Zeuhl as its own musical form, but not quite there yet. Also, for the sake of Zuehl, I think it a good and necessary thing that Christian Vander step forward to take full control of the band's musical direction; only then do you get a more comprehensive feel for that which defines the musical sub-genre.

3.5 stars; a collection of nice cinematic jazz pieces that are more interesting for their place in the history and development of the musical form that would soon be called "Zeuhl."

FunkFreak75 I've had a lot of trouble over the past ten years trying to comprehend everyone's love and appreciation for this album. I agree: It's impressive--even amazing--for a debut--and even moreso due to its massive length; a double album for your first release?! The jazziness of this album is only equalled by its theatricity. Reminds me of APHRODITE'S CHILD's "666." I wonder if AC had heard this album as they were creating 666 or if they had seen Magma in concert. I was most interested in exploring this album despite my affection for and allegiance to 1972's MDK because of the presence of compositions credited to woodwind player Ted Lasry, keyboard player François Cahen, and producer Laurent Thibault--all of who would go on to contribute significant compositions and collaborations on their own to the Zeuhl and jazz fusion/avant garde/RIO sub-genres. It turns out, unsurprisingly, that each of these compositions presents a feel and style that is not Vanderish--that is, not steeped in the styles and philosophies of Carl Orff and John Coltrane. Perhaps the band was not yet entirely "his" as this was the last time Christian Vander would let this happen. Yes, impressive debut, full of youthful power and creativity, but, in the end, it's a bit of a hodge-podge of so much--too much. The band needed to reign in its style--which it would do in the next two recordings.