A discography told properly is not a list of releases with the year beside it. It is a run of decisions made by somebody, usually under pressure and almost always with less money than the job needed. Here we take an artist or a band and follow them record by record, watching what shifts in the sound and where the shift came from: a new instrument, a physical constraint, a producer walking in, the budget running out. We do not hide the technical part, because it is usually the whole point. A tuning dropped a semitone. A tape run backwards. A rule the band set itself and kept for as long as it held. There are no scores here and no rankings of albums. What we try to say is where an arc starts, where it breaks, and what it left to the people who came next.
Twenty-nine years. Then thirty-nine. Then forty-two. That's how long Magma's three longest compositions took to reach a record in one piece, and it is why the band's discography tells you almost nothing.
Three albums in three years, and no two of them sound alike. This isn't a band growing up. It's a band setting itself a ban, keeping it to the end, then swapping it for another one. The tracklists tell the story better than any adjective could.
In August 1991 the drummer of "Funky Drummer" sets up his kit in a Wisconsin club for the Monday night he hosts. In those same weeks his break is on the radio all over the world inside other people's records, and nothing has reached him.
On 27 December 1968 he bought a few rooms in the Trionfale district of Rome and filled them with a Hammond C-3, ten Neumann U87s and the first synthesisers shipped in from the United States. Out of that room came up to twelve records a year, pressed in three hundred copies and signed with names that were not his.
Four turntables shut in a room, five days, five songs. That is the deal the group is named after. Across five albums it never came out at five, and in July 2026 the run closed.
He spent twenty years posing the people of the Paris outskirts like figures in a history painting. His first record does the same thing with sound, and cuts every portrait down to two letters.
Two formats live here. The monograph follows a path through turning points, usually marked out by the records, and picks the tracks that prove something rather than listing tracklists. The narrative piece comes in through an episode, an evening, a working life, and widens out from there.
The subject is always somebody rather than something. If a scene or a label is at the centre, the piece belongs in Genres, and if it is a single record, it belongs in Songs and albums. Where an artist has an official home you will find it in a block of its own, because saying where someone can be found is not the same as supporting a fact.