When Magma announced ‘Kãrtëhl’ would be a bright and optimistic album, that was not necessarily a reason for me to look forward to it. To me, Magma is generally at their best when their unconventional blend of proggy jazz-rock with modern classical overtones is as dark and oppressive as possible. And yet, ‘Kãrtëhl’ is their best release since 2009’s ‘Ëmëhntëhtt-Ré’. Without the shadow of a grand concept looming over the album, ‘Kãrtëhl’ is notably more song-oriented than other recent Magma releases and a much more satisfying listen as a result. It does sound a bit lighter than the likes of ‘Zëss’, but that is hardly a complaint.

‘Kãrtëhl’ marks the first time since 1985’s much-maligned ‘Merci’ album that other musicians than drummer and band leader Christian Vander have contributed to the compositions of a Magma album. Listeners will not be able to tell immediately, as each of the six songs sound unmistakably like Magma. ‘Do Rïn Ïlï Üss’ in particular, a composition by singer Hervé Aknin, is a good jazzy number that could have been on any of the band’s late seventies albums and not stand out as weird. However, these outside influences may be part of the reason why ‘Kãrtëhl’ is so memorable and melodically strong.

Overall, ‘Kãrtëhl’ finds the middle ground between the grand choral majesty of ‘Ëmëhntëhtt-Ré’ and the more concise songwriting of the likes of ‘Attahk’. Also, for the first time in quite a while, the tracks feel like actual songs instead of movements of a larger composition. Every track has at least one melodic theme that carries the song, often multiple, and the arrangements are generally fairly tight. The musicians are allowed to let loose sometimes, especially that busy, but well-crafted bass line by Jimmy Top – son of former bassist Jannick – in opening track ‘Hakëhn Deïs’ is impressive, but it’s all in service of the compositions.

Despite being a relatively upbeat album by Magma standards, ‘Kãrtëhl’ still excels in its light-and-shade workings. ‘Ẁalomëhndêm Ẁarreï’ cleverly contrasts massive choral climaxes with an overall undercurrent of brooding menace and doom-laden riff work by Top and guitarist Rudy Blas. A very dynamic track and the highlight of the album. The following ‘Ẁïï Mëlëhn Tü’ is the darkest track on the album with its slow build and the way the ominous melodies interact with the unpredictable rhythms, but it also has a more upbeat climax. In addition, none of those darker moments would have stood out quite as much without the pleasant melodies of ‘Irena Balladina’ or the gospel leanings of ‘Dëhndë’.

Ultimately, ‘Kãrtëhl’ is a relatively accessible Magma album. Listeners who are intrigued by their style, but find their most popular works a bit too much to take in will likely find something to enjoy here. It is an extremely well-written and even better performed album that sounds like prime Magma. Out of their longtime fans, the ones likely to be most pleased by ‘Kãrtëhl’ are those who liked the more song-oriented approach of their late seventies output. Because that is truly where the album shines: every song can be enjoyed on its own without missing the larger concept. Highly recommended.

Recommended tracks: ‘Ẁalomëhndêm Ẁarreï’, ‘Ẁïï Mëlëhn Tü’, ‘Hakëhn Deïs’