"Köhntarkösz" Magma is the fourth album; it forms with "KA" and "Emëhntëth-Ra" (including the complete recording was made many years after the composition or the draft composition, with parties which found themselves integrated into albums unrelated concept original) a triptych whose story is directly inspired by Egyptian mythology. Compact-disc, the two parts of the song "Köhntarkösz" (each lasting a quarter of an hour) are found one after the other, while in vinyl, each of the two titles short ending CDs concluded each of two faces. These two pieces are also far from being anecdotal, even if they have nothing to do with the history of Köhntarkösz; "Ork Alarm" recounts the war that must engage the people "Zeuhl" and that of Ork works against him, people Ork consisting of indescribable material, which is material to the machines that the machines are for men (liner notes). Serious and martial voice and the mechanical rhythm illustrate the warlike aspect of this piece as striking as concentrated. "Coltrane Sundia" is a wordless tribute to the memory of John Coltrane. We know that the cult has always been dedicated to the legendary saxophonist Christian Vander. This piece shows a different side of Magma and especially of C. Vander, who can also compose music and profound calm, collected and sublime, in this case. One aspect of his music that are found also in several other albums Magma ("Attahk", "Kobaia") and in the project "Offering". A clear electric guitar sing the main theme, with an enchanting piano. After the pale moon and clarity "Köhntarkösz" and the dark red sun "Ork Alarm", one has the impression of floating on a golden liquid splashed, one of the solar disc at its zenith ... The first part of "Köhntarkösz" (the title) is subtitled "Entering the tomb of Emëhntëth-Ra". It tells how a man named Köhntarkösz discovered the tomb of an ancient Egyptian master named Emëhntëth-Ra, then penetrates inside. This first part is slow, unlike the latter which is fast. The sounds are exceptional, acute organ that acts as soloist, backed by piano, omnipresent and rumbling bass and battery CV always present and extremely expressive, incantatory or whispering voices, female voices, the main one being that of Stella Vander. One of the most striking and original pieces of all the work of Christian Vander, bathing all the way in a troubled atmosphere, sultry and mysterious. At the end, a tone will sound funny, and the music goes off air choirs and piano notes played in the treble. This passage in particular is very reminiscent of the "Noces" by Stravinsky. The second part starts in the same way as the first ended, but the electric piano replaced the classical piano; quickly, the climate becomes dreamlike, indecisive, with ethereal voice (music of the angels), then gradually the rhythm accelerates. The suite is a kind of disheveled and repetitive race (think this time Carl Orff and his "Carmina Burana"), dominated by the swirling electric guitar of Brian Godding and choruses that never seem to catch their breath, singing indefinitely the same syllable, and something that looks like "Kobaia" voices like in a trance, which are based among other instruments. A male voice (that of Klaus Blasquiz?) Then began a kind of very fast cast midway between spoken and sung. This second part relates how Köhntarkösz is undergoing a mystical experience in which the Emëhntëth-Ra life is revealed to him ... after he fainted, he dreams about immortality secret that the Egyptian master had pierced . The tempo slows down, finally, and the second part of "Köhntarkösz" ends punctuated "Oms" in the bass, as an ultimate prayer of gratitude and devotion to the Absolute ...
