Sunday, January 31, 2010

Neffesh Music - 1979

Neffesh Music was the group that Yochk'o Seffer formed after leaving Zao in 1976. Their album, Ghilgoul, is still one of my favorite discs, and features some driving fusion backed by a string quartet.

Our friend Alain Juliac is starting to dig some of his old photos out from his closet. In addition, Laurent Cokelaere, the bassist, is posting some old promotional photos.

Here are two photos from the 1979 group. The line-up consists of Yochk'o Seffer, Michael Nick, Bülent Atlioglü, and Laurent Cokelaere. I hope that Alain can find some rare recordings and post them on DIME for all of us to hear.

Magma - Olympia June 10 1980

Thanks for TrollerTanz for this ticket.

Saturday, January 30, 2010

Klaus and Natalia

I honestly forgot who sent me this ..... but it's classic.

Magma - Bressuire June 12, 1999

Thanks to our new friend TrollerTanz, here is an image of the ticket from a Magma concert in Bressuire on June 12, 1999.

New Weidorje Album in 2010

From Alian Juliac:

A Weidorje live album, recorded October 14, 1978 at Rombas (Moselle) should appear in 2010 on the Soleil Zeuhl label.

We have an agreement with Bernard Paganotti and Patrick Gauthier, and it is hoped that the tape recorded by Jean Pascal Boffo has not suffered too much from the ravages of time. If so, and after some work on the sound, we should be in for a treat, as Rombas was a great concert and should recall good memories to all who were lucky enough to see them on stage at that time.

Jean-Pascal has a nice 2-track reel-to-reel recording of the concert. Maybe they can get Udi to remaster the tape?

Photo from Best, May 1979

Wednesday, January 27, 2010

New Magma Book Available

Here it is .... available to buy finally. Phlippe Gonin's book about Magma.

You can order it from Amazon France here.

And, unless Phlippe sends me a copy, or until Amazon US carries the book, then I will have to wait until I am back in France in order to by one. I hope they have lots of pictures :-)

Sunday, January 24, 2010

L'Autre Canal, Nancy - October 2007

Thanks to Hanwaker for this beautiful photo of L'Autre Canal. I went to the Nancy Jazz Festival in October 2007 to see Magma play. Many great memories and people.

Saturday, January 23, 2010

Magma - Cagnes Sur Mer - September 1973

We share our archives freely with the Zeuhl and Beyond blog and with the Magma Web PressBook. When I saw this on the Z&B blog this morning, I knew that I had to poach this and put it here. Thanks to our friend Rodolphe, the photographer.

Daniel Denis - Interview in Modern Drummer Feb 2010

Thanks to our good friend Zeeker (who I remember as a 16 year old in purple suspenders), here is the interview with Daniel Denis from the February 2010 issue of Modern Drummer magazine.

Thursday, January 21, 2010

Does Anybody Know Anything About This Band?

This is an old French band that seems to have a mysterious connection to Magma.

Wednesday, January 20, 2010

Magma in Wurzburg, Sept 25 2010

Hanwaker reports that Magma will be playing in Wurzburg, Germany on September 25, 2010.

If any of you are going to the Rock In Opposition Festival on September 17, 18, 19 in Carmaux, you might consider taking a long, slow drive across France and making your way to the Black Forest for the Magma show.

Steve and I might take the Magic Bus.

Monday, January 18, 2010

Best No. 56, March 1973 - Interview with Klaus

Our good friend Rodolphe just posted the scans of this interview on the Zeuhl and Beyond blog. Here is the approximate English translation, as performed by Babelfish. These translations are usually not accurate, but you can get the gist of what Klaus is saying.

Discussion with Klaus BLASQUIZ,
by Christian LEBRUN

Klaus, it is not a singer, it is a cathedral ?. Thus, in the preceding interview, Christian Decamps qualified Klaus Blasquiz, singer of Magma. Klaus Blasquiz has, indeed, an impressive vocal power and uses it with a great originality. With the beater, Christian Vander, it belongs to Magma since the creation of this French group if discussed. Generally, very the strong personality of Christian Vander contributed to relegate to the second plan the character of Klaus Blasquiz. II was thus only time to give him the word, more especially as after deep changes Magma seems today decided to set out again of more beautiful.

Christian Lebrun: II a question has there which is essential: for this summer, since the festival of Châteauvallon, one has little heard of Magma; where is exactly Magma?

Klaus Blasquiz: The second formula of Magma is extinct in September. One dissolved the Magma group, and at the same moment one reformed the group. I.e. makes some there no was dissolution, but there were nevertheless deep changes. II a new formula of Magma has there, already on the level of the instruments. Second formula, he remains Christian Vander, Jean-Luc Manderlier and me. We are now seven: a battery, low, a guitar, a pianist, an organist and two singers. There is a new phenomenon, it is that several musicians play several instruments. A singer plays of the saxes, me I play of the glockenspiel and of the alto saxophone, the organist plays of the alto saxophone, the pianist plays of the alto saxophone, everyone sings.

CL: Which were the principal reasons for the dissolution of the second formula of Magma?

KB: The principal reason is a problem of spirit. II had there people in Magma who did not have the spirit of Magma, and we are happy - them as much as us - to be to us separate; while being happy to have made the experiment of Magma.

CL: Which is this spirit of Magma?

KB: It is a compound: it there with the musical spirit. For the musical spirit, there were problems. François Cahen (the pianist) liked to play the music of Magma but did not take there the maximum pleasure which a musician can test. Francis Moze (the bass player) took really the pleasure, but it had a need for freedom; that it was another problem of spirit, the problem of the spirit of group. II had there another problem, that of the spirit of work: Francis Moze is estimated free to choose its way of working, whereas we, one estimated that it was necessary that it works on certain plans.

CL: Shouldn't the material problems either have arranged the things?

KB: It is well-known that in France the music is a thing of plane tenth. Front, there are the beaujolais wine, steak fried, Camembert cheese, etc Même the song is not really with a choice place. One is under discussion permanent with people who make classical music, and it is a true disaster in France. One can say that it is the country where there are the most drunkards and the country where there is less music. It is a disaster. It is what that the material is very expensive, because people do not make a musical material where hardly start to make ? of it In addition, how to live without money? How want you to repeat for three months by paying drafts every month because you are obliged to pay a truck, etc At the beginning, one had a providential help of an American, and then this debt of twelve million was deferred on Philips which us made the advance of it. And then once one has the material it is necessary to be able to renew it. Now one will sign at A. &. Mr. in the United States, one perhaps will have possibilities of arrangements; the only solution is to find subterfuges, to make use of the name of Magma to have money ?

CL: Which is the assessment of the rounds of Magma the last year?

KB: People come to the concerts from Magma, everyone can note it, people start to be accustomed to the music of Magma. One played in places in France where there had never been nothing. It was the first time that it occurred something there. It is nevertheless serious to note. The result of the round is very positive; but, on another side, one can realize that it would be necessary to make three times more. In France to obtain 10, it is necessary to make 300. II certain countries have there where you make 10 and you obtain 300. On another side, as for Gong, one cannot remain about it there. If one does not go to the United States or to England, one will turn in round.

CL: On is the properly musical level, how directed the new formula of Magma?

KB: The musicians of the new formula have the general spirit of Magma, then the music will be whole, if ever the music of Magma were not whole front; it is the continuity of the music of Magma, it is the evolution of the spirit. There are two things: it there with the music of group, i.e. the pieces composed by the musicians, and then there is Mekanïk Kommandöh ", with the chorus-singers. One is repeating both.

CL: Let us speak a little about the past, if you want. How did you contact Christian Vander and Magma?

KB: I belonged to a group of blues. Then, for six months, I vegetated after having left it. I then wanted to make a group with Claude Engel. II said to me: I am repeating with a group, thus come to a repetition. It was at Pathé Marconi, with the Bridge of Sevres, and I fell on Vander. I had already met it in a studio die repetition and, obviously, I had fallen like a fly, as all people can do it by seeing Christian, especially that in more it was with lamentable musicians, it was a true disaster, and I saw only him, I heard only him. Good, the chance makes me come with Claude Engel and I re-examine it. Unfortunately there was a singer, it was Zabu. II Laurent Thibault with low had there, Claude Engel with the guitar, Rene Garber with the sax, there was Guy Rene, a saxophonist trumpet player who plays with Hallyday, there was an American pianist. II did without the small changes and, at the end of one month, I found myself singer. Laurent Thibaut found producer bass player, and then the group started. One repeated in various places, in particular in a villa with Saint-Rémy Chevreuse. One worked for nine months the first thirty-three double turns. It was at the end of 1969. Thereafter that was elutriated, one found Teddy Lasry, Richard Rault, François Cahen, Francis Moze and then there was Paco which, was to him also at the origin of the group.

CL: How did you react to this new music? In particular with the fact of singing in kobaïen?

KB: II had there for everyone, even for Christian, a total break with all that could have been made before on the pop music plan. It was a radical change. In the beginning, one had very to make; there was the group to create, the music to be created, the disc to be worked, the formula to be created. There were very varied problems, and gestation was a little slow and a little difficult. I had the feeling to return in a dream. I knew what was Christian, I knew what it had in the belly; I had seen it at his place playing of the piano ? When you see Christian playing of the battery or singing while playing of the piano, if you do not include/understand, you never include/understand anything; there is such a current of energy which passes that you can that to be turned over, in a direction or another ? I worked with the kobaïen with him in the beginning, and thus I did not have of evil to adapt me. The kobaïen, at the beginning, they was onomatopoeias, three or four words of onomatopoeias, and then one said oneself: one will make the complete language, one will make the dictionary as long as one is there. That was done progressively. For one year one has worked really above.

CL: Had you posed yourselves the problem to know so yes or not you must sing in French?

KB: The problem was posed, although right from the start it had been decided to sing in kobaïen. And then, to a given moment, one said: hold, it would be funny to make French things. But one returned from there to the reasoning which one had held with the beginning: there does not have problem, the music kobaïenne is not made for French, it is made only for the kobaïen. Possibly, one thought of doing that or in German, or Russian, or Slavic. But, at this moment, why not in English? The language kobaïenne is sometimes hard, sometimes very dry, sometimes very round, very poetic, very Slavic. It was thought that there was no problem on the level of comprehension. People could include/understand, listen to the words very well, even without including/understanding the real, word for word direction. And then, it is not known as that is not done a day.

CL: But isn't it one of the reasons for which some qualified Magma of hermetic?

KB: Hermetic? I am afflicted, on people who listen to pop music, it has of them there really only ten percent which include/understand really English. Personally that makes me a little laugh. There are even people who write on the music and who do not speak English.

CL: Do you remember what ace felt with the first concert of Magma, into 70, with the Theatre of the Music?

KB: I was really with the Skies, and I believe that I was not only. There are many people who had a fantastic surprise. We one was really with the roof of happiness. One was not afraid. One was so sure us, one had prepared our blow so much. One arrived really extremely of that, you see, and there was such an electricity between us and people, it was really fantastic. II had there world, people expected something. And then there was a contact. The groups which passed before us made rock' frankly roll, and there was such a difference of universe between what they heard before and when one arrived ? That did besides on a disproportionate scale compared to the time, that was not passed by again before six months. Maintaining that passes by again itself, one feels that people obtain what they awaited from Magma. They await Magma this species of revival, of new musical birth. II birth did not have there still. Because one says in vain, the rock' roll in the Sixties, did not have birth, that there always was of the continuations. True birth of the music, it did not have there since 1910, since Stravinsky.

CL: For Europe? ?

KB: For Europe. In only one fairy-like bubble, I put Bartok, Stravinsky and Ravel, Debussy. I still do not speak about the contemporaries, because there is a new music which was created, but there is not a new musical ethics. If you prefer, people are not integrated yet as one is integrated into the music of Stravinsky. Or as people were integrated into the music of Made green at the time; all the Italians sang Verdi ? All the Hungarians sang Bartok, Bartok which used Hungarian country topics, and everyone could feel the musical obviousness of Bartok. For us, I think that it is a little the same phenomenon, it would be necessary that people feel the musical obviousness of Magma in Europe. One is currently in a musical bath which does not correspond to us, it is cool water or too hot water, we would need water at our temperature. Water too cold it is Alice Cooper, water too hot it is Stockhausen. It is too. The origin of the music of Stravinsky it is the feeling of the music in Europe. I estimate me that the Russian music, it is the European music. Y does not have other music. II there with the Latin music, remained at a nonadvanced popular stage; there is a Celtic music, which is very beautiful, good, there is somebody who is occupied it is Alan Stivell and it is very well for the principle; but, the gasoline of the music it is the Slavic music, there is only this feeling and when you hear it that pulsates at least as much as the African music.

CL: But finally, by certain sides, and even if that attenuates you continue all the same a tradition resulting from the jazz, blues, rock'n'roll!

KB: II has things there to draw from all. The current musical expression can be done only by listening to all. Even if one does not listen one hears, one bathes inside. One can take the good things of all. There is of Africa in Magma, there is more Africa than of England. II has there of the Afro-American. It is always the folklore, the music first, and Magma wants to be to be a new music first. One would like to be the folk music of Europe. The music is a physiological function, whether it is made it or that it is listened to, like eating, sleeping, to see, breathe, speak. You must do it, if you do not have do not do it you have problems, you have a blocking. Then, there is a rejection of that on another thing: there the plonk has, with puffs out there, the family, certain forms of political militancy. I could note that people, of agreement or not with us and who were militant policies for whom one played, do not like the music, they cannot feel it because they are blocked.

CL: On this subject, you had problems in Bordeaux I believe.

KB: Yes. There was a group of drunkards quia started to re-sift the old saying Magma fascist", they are assembled on scene with kils of red out of plastic and they said to us: drink. One did not want to drink, one was there to make music, one was not content that they stop us. They were not emptied. They understood that one did not deal with them, that one continued, they are descended. And then, i1 had there the Communist League which was there and which took its party to make a event as they say. The event was to prevent us from expressing us. Magma fachos, Magma fachos, one could not play any more. They were fifty and there were seven thousand people.

CL: Which is fascistic Magma the origin of this saying which continues the group since its beginnings?

KB: Until now one did not fight against that. One was what one was. Now, one will fight against that. Because if people do not include/understand what one is one will be obliged to specify it. People do not include/understand anything. Initially, they do not have any direction of humour. For example, they cannot understand that Christian makes a speech. The speech of the first thirty-three double turns, if that resembles Hitler, me I am cleaned! A small man who makes a speech violate that can be only Hitler. It is not Mussolini or another, it is Hitler! Because the large high-speed motorboat, in this moment it is Hitler. You have only to look at the covers of Historia, Thing, etc, Hitler it is the taboo it is the first box which one leaves his brain ? and then a speech that ever saw ? Bon, here are reasons of the misunderstandings at the beginning. Then, then, as we one had fun of that, one does not have of it magnifying glass one to shout Heil Hitler, one had died of laughing to see the connery of people; but one did not think nevertheless that would go up to that point, one did not think that people would come to the concerts to prevent us from playing because supposedly one is fascists. Eh Ben, my old man, one had right there!

CL: On the same topic, there is a reproach that one makes you, and who is less formal and deeper: that to want to restore a European music, vis-a-vis the current preponderance of the musics at base Afro-American, to remind memories of the Wagner style, etc

KB: Yes, but Wagner it is the gasoline of our music. I have stronger feelings with Wagner, Berlioz and all the German opera that with Joe Cocker. However, I like Ray Charles ? Y' does not have a problem one likes the music Afro-American, one played about it, one likes that. But it is not for that one must make our torch of it. II has obvious traces in Magma of them there. But one is neither African nor American. One is it a little now by culture, but one is not it by major feeling, when you go to the United States, you include/understand immediately how you are you. You understand that you have ten percent of what they feel. I would like to see somebody here praising myself to feel it as much as people who like Tamla Motown in the United States. One wants to make music which corresponds to people. People do not live the life of this music. They are not in a black ghetto, they do not live in New York, Los Angeles or San Francisco. The music, that has a social origin. One cannot make music Afro-American in France by really feeling it. One does not want to prevent people from playing of the music Afro-American, but one wants to show them that they will never manage to be exploited there completely, to be discovered there.

CL: But since the beginnings of the rock'n'roll in Europe, one arrives now at two or three generations accustomed to this sound. You do not think that there can be habituation with long?

KB: Not, they are not accustomed with the sound. You have only to listen to the groups when they play, they play French, and that feels. On the other hand, which is important, since two or three generations, it is that people learn how to play of an instrument, which is important it is the phenomenon of group.

CL: What brought mainly Giorgio Gomelsky to you?

KB: Giorgio Gomelsky, it is the mythical being which everyone hopes for. One awaited Giorgio Gomelsky. It is François Cahen, the pianist, who knew that Giorgio was in Paris. One made a concert for a.J.S. with Reciprocity and one asked him to come. It was just at the time of the second album. The first words which he said it is: Listen, the guys the music of Magma they are fabulous, but you are the kings of the idiots ? because with the music whom you have, for the musicians whom you have, it is necessary absolutely that you do something to make known to you. One made at the time only one concert per month. II made work coppers which played with partitions. II made them work so that they learn all by C ? ur. Giorgio was the first to be really dealt with the production of Magma. And i1 created this famous circuit of Houses of Young people which has enabled to us to really be able to play in front of people. Front, one played very very little in province. This year, one did an utmost of concerts. One is one of the groups to have made the most concerts in France, with the most success. There were the price of the Academy of the disc. And one in spoken forever. Nobody in the press gives an account of the concerts. If people want to know Magma, it is necessary especially that they come to see us on scene. It is very important.

Sunday, January 17, 2010

Funny Photos of Magma - Bobino 1981


There is a singer who is in "Kiss" makeup. Another singer is wearing a "Fly Mask".

I wonder if Christian cringes when he looks at these photos ....

Would You Support Seventh and Buy Rare Recordings?

I would like to hear from the people who read this blog.

Several Magma fans are currently in discussions with Stella and Seventh Records about making some rare Magma bootlegs available as digital downloads for the price of 8 Euros apiece (about $11, or 7 Quid). This may include the famous great audience recording of Toulouse 1972, featuring the only recorded performance of Dotz Hundin.

We all realize that Magma (and especially Christian Vander) are perfectionists when it comes to the quality of the performances that they want to release to the public. And, we all realize that these rare bootlegs might have both performances and sound that may not be up to the high standards that are set by Magma.

Nevertheless, I am sure that we would all like to be able to be given the chance to purchase these rare items. There are many hundreds of rare recordings in the Magma vaults, and they cannot be left to disintegrate over time.

As you all know, Stella and other members of Magma read this blog. Please voice your opinions, and let Stella and Seventh know that there is a market for these kinds of rarities.

Electric Epic

Thanks to Mr. Wurd for the link.

Here is some information about the group, Electric Epic, with Philippe Bussonnet on bass and Jim Grandcamp from Infernal Machina on guitar. Electric Epic opened the RIO Festival in 2009.

Friday, January 15, 2010

Wanted - Recording of the Oslo Concert

A few people have asked about the existence of a recording from the concert on December 12, 2009 from Oslo. It would be great for someone to share this through DIME. Otherwise, if someone puts a copy on a place like Rapidshare or Megaupload, or if someone was to share it through Soulseek, then please let us know.

Tuesday, January 12, 2010

Daniel Denis in Modern Drummer

Modern Drummer has taken a walk on the wild side, and the February 2010 issue contains an article on Daniel Denis, the drummer from Univers Zero. This magazine is the most widely-read periodical for the drumming community in the United States, so this should be some great exposure for both Daniel and UZ ... long overdue, in my opinion.

Udi and Etienne - Two Audio Engineers in Conversation

Udi Koomran interviews Etienne Conod, who set up the 'legendary' Sunrise Studios in Kirchberg, Switzerland where so many masterpieces where recorded and produced between 1976 and 1982: Henry Cow (Western Culture), Art Bears (all), Art Zoyd, Cassiber, Aksak Maboul, Fred Frith (Gravity, Speechless), Stormy Six (Macchina maccheronica), Univers Zero, The Work (parts of Slow Crimes), Munju, Embryo, Debile Menthol among many many others.

Also see Conod's own website for full documentation, memorabilia and account on more recent activities:

Saturday, January 9, 2010

EBay Bootlegger Alert

That South American scam artist is on EBay again. This time, he is selling a copy of the concert from Nancy from February 28, 2009. Please try to report this to EBay.

Weidorje (Thanks again to Alain Julliac)

Vander and Seffer (Thanks to Alain Julliac)

A big Merci to our friend, Alain Julliac, for this photo of Christian Vander and Yochko Seffer from sometime in the early 1970's. This photo came to alain directly from Seffer himself.

Now On DIME - Magma - 1979-03-17 Creteil (Master EQ)

Maison des Arts et de la Culture André Malraux
Créteil, France
March 17th, 1979

CD1 all tracks EX stereo audience MASTER.
CD2 tracks 201 to 205 : VG 2nd gen from same audience master (see notes below)
track 206 : EX stereo audience master.

CD1 all tracks and CD2 tr. 206 : JVC KD2 stereo cassette recorder -> master TDK AD type I cassette
-> Nakamichi Dragon (with auto-azimuth) Dolby off for playback
-> Zoom H2 -> wav
-> Goldwave v.5.08 for edits, tracks splitting, maximizing at 90%,
-> TLH 2.4.1 (build 160)-> FLAC level 8 align on sector boundaries

CD2 tracks 201 to 205 : JVC KD2 stereo cassette recorder -> SHARP RT10H cassette recorder -> JVC KD2 -> 2nd gen TDK AD type I cassette
-> Nakamichi Dragon (with auto-azimuth) Dolby off for playback
-> Zoom H2 -> wav
-> Goldwave v.5.08 for edits, tracks splitting, slight bass boost, maximizing at 90%,
-> TLH 2.4.1 (build 160)-> FLAC level 8 align on sector boundaries

PLEASE NOTE : CD 1 is OK ; the master tape for CD2 had severe speed problems in several places so in 1979 I made fades in and fades out using 2 cassette recorders ; then I copied
the resulting edited music back on the master tape, erasing what was on it (Yes, it was silly ; yes I was silly in 1979, weren't you ?). This is why you get a 2nd gen for CD2, except for
track 206 that I left just like it was (with minor speed problems).
Then in 2009, with Goldwave, I removed the drop outs generated by fades in and out ; sometimes you don't notice anything, sometimes you do ; I left a few fades.


CD one (0:54:09)
102.The Last Seven Minutes
103.Ourgon et Gorgo / drum solo

CD two (0:47:45)
203.I Must Return
205.MDK (partial : fades in)
206.Le Rock (a few speed problems)

Total time 1:41:55

Jean De Antoni - guitar
Jean Luc Chevalier - bass
Liza Deluxe - vocals
Andre Herve - keyboards
Michel Herve - bass
Maria Popkiewicz - vocals
Christian Vander - drums, vocals
Stella Vander - vocals
Benoit Widemann (?) - keyboards

Recorded and shared by finkployd49 (January 2010)

*** NOT FOR SALE ***

Wednesday, January 6, 2010

Concert at Commentry Postponed

The concert scheduled for January 9th, 2010 in Commentry, France, has been postponed (according to Memorizator).

Attention for those who keep track of Magma gig histories ....

Sunday, January 3, 2010

Guy Skornik - Pour Pauwels

Thanks to Meurdhek for the pointer. The Cozmicplace blog posted a very rare album from 1971 by an artist named Guy Skornik. The sound files are here.

The big mystery about this album is that three member of Magma (Vander, Moze and Engel) were supposed to have played as session musicians. However, nobody can confirm this definitely. I listened to a few tracks, and I cannot detect any Vanderisms in the drumming. Perhaps students of Moze and Engel can tell if they are on this album.

In the very early days of Magma, the musicians of Kobaia often guested as studio musicians on French albums. Magma fan Jacques Guiton has a list of those albums here.

Magma Concerts Schedules in 2010

9 janvier 2010 - COMMENTRY (03) - Agora

13 février 2010 - SAINT BRICE (95) - CC Sylvia Monfort

20 février 2010 - SOIGNIES (Belgique)

27 mars 2010 - SAVIGNY LE TEMPLE (77) - L'Empreinte

3 avril 2010 - COMPIEGNE (60)

12 juin 2010 - LE BLANC MESNIL (93)

Saturday, January 2, 2010

Emmanuel Borghi is Selling his Fender Rhodes

Manu has a 73-key Fender Rhodes electric piano that he is trying to sell. If anyone has any interest in buying this, please leave a comment here.