Hamtaï! Welcome back to Deep Dive, my series where I explore the extended studio discographies of the giants of progressive rock and metal. I’ve got a weird one for you today: Magma, the founders of zeuhl.
For those who don’t feel like reading massive entries in their entirety, I’ve included a TL;DR and ranking of albums at the end of this piece. I’m opting to explore albums chronologically, as opposed to a ranked-list format. The context in which albums were made is important, and this contextual element is often overlooked in many ranked-lists.
Magma has always been a weird band. I’ll delve into what exactly zeuhl is below, but even beyond the structural strangeness of their music, the band’s composition has varied wildly over the years. At the time of writing, Wikipedia lists 12 current members and 22 former members; and Rate Your Music names 11 current members with a staggering 89 former members. Much of this can be attributed to their frequent shifts in sound, ranging from their very wind instrument-heavy first albums, to mid-career funk experiments, to later albums which prominently featured vibraphone. Multiple vocalists have always been a signature element of their sound as well.
Magma has been incredibly consistent across their career, in terms of the quality of their work. Even their worst album isn’t all that bad. I’ll also give a quick shout-out to their live performances. I saw Magma on their 2016 US tour, and that was one of the absolute best live shows I’ve ever seen, only seriously challenged by my experiences seeing Rush and Moonsorrow. This column only covers studio output in any depth, but the live albums Hhaï and Retrospektïẁ (I-III) are some of their best work. I’m a big enough fan that I personally own the 12-disc live box set Köhnzert Zünd.
Before we get going, though, I’m sure those of you unfamiliar with Magma are asking…
Continue reading “Deep Dive: Magma” →
Welcome to entry number two in my Deep Dive series, where I look at the full studio discographies and histories of some of the major names in progressive rock and progressive metal. It’s here that I highlight output beyond an act’s “classic” releases.
For those who don’t feel like reading this massive entry, I’ve included a TL;DR and ranking of albums at the end. I’m opting to explore albums chronologically, as opposed to a ranked-list format. The context in which albums were made is important, and this is an element often missed in a ranked-list.
For this second entry, I’ve opted to cover Jethro Tull. Tull are best known for their pair of early ‘70s masterpieces, Aqualung and Thick as a Brick, as well as winning the inaugural Best Hard Rock/Heavy Metal Grammy over Metallica in 1989. But beyond those few common knowledge highlights, as well as the notable quirk of being the best-known rock act with a flautist, this band’s discography holds an impressive breadth of music, ranging from blues to folk to synthpop to world music.
I really love Jethro Tull. My love of Jethro Tull is so deep, in fact, that the first email address I ever made was a rather blatant reference to said fandom. (And that Yahoo address is still in use 14 years later, as well as a very similarly-named Hotmail account.) In high school, I made it my mission to collect a physical copy of every studio release from Jethro Tull. I still have all those CDs (including both the US and UK versions of Benefit), as well as several vinyl records, which I acquired both from my mom’s old record collection and from my own purchases. I also managed to see Jethro Tull in concert in 2011. Even then, Ian Anderson (plus Martin Barre and the other motley musicians) could still put on a hell of a show.
Despite my deep fondness for this group, I’ll do my best to be as objective as one can be when reviewing music. They did put out some crap albums, and I’ll be honest about other albums’ shortcomings. Continue reading “Deep Dive: Jethro Tull” →