KA (album)
| KA (Köhntarkösz Anteria) | ||||
|---|---|---|---|---|
| Studio album from Magma | ||||
|
Publication |
2004 |
|||
| Label (s) | Seventh Records | |||
|
Title (number) |
3 |
|||
|
running time |
48m 58s |
|||
| occupation |
|
|||
|
Christian Vander |
||||
|
||||
KA (also: Köhntarkösz Anteria ) is the ninth studio album by the French Zeuhl band Magma . It was released in 2004.
background
Work on "KA" began in the 1970s, and some musical themes can be found on live recordings from this period. In the course of the following decades, the three-part piece was changed and expanded again and again.
In the context of the myth of Kobaïa , which the band tells in their discography, "KA" is the second part of the "Köhntarkösz" trilogy, which includes the albums "Köhntarkösz" (1974), "KA" (2004) and " Ëmëhntëhtt-Rê “And describes the connection between the Kobaïan people and ancient Egypt . It tells the prehistory of the album "Köhntarkösz" and is therefore to be regarded as his prequel .
content
The album begins with choral praise of the protagonist, a modern archaeologist who discovers the grave of Ëmëhntëhtt-Rê and receives visions there. The voices predict that he will one day be a prophet (Köhntarkösz), but is currently still asleep and has not yet recognized his place in the human race. The last part, originally consisting of the parts "Om Zanka" and "Gamma Anteria" (heard individually for the first time in 1976 on the live album "Inédits"), deals with a youthful vision of the later Köhntarkösz, in which he travels to a foreign city and joins with joy Hallelujah calls are welcomed. He is taken to Ëmëhntëhtt-Rês grave, where a mysterious male voice welcomes him and urges him to enter. At this point the album “Köhntarkösz” begins.
Style and reception
Like its predecessor albums, “KA” is in the Zeuhl style influenced by Christian Vander's musical role models Carl Orff and John Coltrane .
On the baby blue pages , the album received 12.8 out of 15 points. Udo Gerhards wrote:
"In terms of composition," KA "turned out to be quite varied and in some passages - for Magma standards - downright cheerful and therefore reminds us of Wurdah Ïtah. Tension is built up and released again in excessive wave movements. On top of that, Offering has left its mark on some almost jazzy choral harmonies. The urgently intense, ecstatic, repetitive, explosive magma sound so loved by Zeuhl's disciples (including polymetrics) finally pounds on the listener in the grandiose finale of "KA III" after a long, relaxed but nevertheless tension-creating flowing part with a synthesizer solo. And exactly then, when the big ear gas should come, the tempo is reduced and the album ends differently than one should expect after the previous ecstatic excesses with a slightly threatening note. "
François Couture wrote on Allmusic :
"Because it goes beyond what Magma used to be without lessening the impact of what the music used to be, KA stands as one of the biggest surprises of 2004 and a must-have for fans and newcomers alike."
"Because it goes beyond what Magma always was without lowering the impact of what the music always was, KA represents one of the biggest surprises of 2004 and a must-have for fans and newcomers alike."
Track list
- KA I (11:13)
- KA II (15:54)
- KA III (21:51)
Individual evidence
- ↑ Timothy Hannem: Trilogy Kohntarkosz - Acte I - Kohntarkosz Anteria. Retrieved May 21, 2012 (French).
- ↑ Udo Gerhards: Review of "KA" on the Babyblauen Seiten. December 7, 2004, accessed May 21, 2012 .
- ^ François Couture: Allmusic: Kohntarkosz Anteria (KA) - Magma. Retrieved May 21, 2012 .
Web links
- Reviews of KA on the baby blue pages
- KA at Allmusic (English)