With a career spanning over 50 years in electronic music, Jean Michel Jarre is very much a legend who is still releasing music. His music has been a huge part of my life ever since I heard his music on the Landscape Channel in the late 80s/ early 90s. The track, Oxygene 4 is a masterpiece and I have been enamored with Jarre ever since, having heard all his albums and owning most.

He went through a resurgence nearly a decade ago, releasing his collaboration albums Electronica 1 and 2 before dipping back into his first breakthrough album with Oxygene 3. Then, in 2018, he released arguably his best album in years- the stunning Equinoxe Infinity. Anyone fearing that he was merely trading on past glories need not have worried as he returned to his pre-worldwide success roots in 'musique concrete' (the process of using recorded sounds to create a sound montage which is often abstract in its quality) by creating a sonic soundscape inspired by the Amazon rainforest and the works of photographer Sebastião Salgado. It was a singular album but definitely more or an experience that was best viewed as a whole rather than any individual standout track. His follow up was another leftfield decision, Oxymore, a more boombastic, denser and faster paced affair than what we’ve been used to for quite a while. I liked the album just fine but it didn’t get under my skin like Equinoxe Infinity had. However, I didn’t let that worry me; I appreciate the chameleon like nature of Jarre with all its ups (Zoolook) and downs (Teo and Tea) and always look forward to seeing what the electronica maestro produces.

For a certain contingent of Jarre fans, who expect derivative works based on the Oxygene and Equinoxe albums, Jarre has apparently 'lost it' and is ‘past his prime’ etc, but as Jarre himself said during a Facebook Live session, "Some people are always unhappy". So for those who people, you might want to visit another site as this album may not be for you. Oxymore Works sees Jarre rework the Oxymore tracks with the likes of Brian Eno, Armin Van Buurin and French 79.

The album is a bright and breezy 44 minute and zips along at a cracking pace. A track by track review follows:

Brutalism Take 2 is a banger of an opener that throws the kitchen sink into the mix; there's a driving beat mixed with some John Carpenter level arpeggios and then a wailing electric guitar wending its way through the track. It quietens midway through the track then builds up to the drop... bliss!

Epica Extension features a discordant electronic orchestra wails along to a metronomic beat before a beautifully layered augmented voice kicks in and adds layer and depths to proceedings.

Brutalism Reprise has a banging EDM vibe to it with a nod to Pierre Henry and musique concrete before some whimsical angelic vocals ends the track in a note of harmony.

Epica Take 2 is a gentler take on track with a retrowave influence really lending it a vibe that is super 80s- and I’m here for it!

Synthy Sisters Take 2 is a slice of euphoric peace amongst the boombast of the other tracks, it is calm and soulful.

Epica Maxima is a melodic trance version of this track with the legendary Armin Van Buuren and it really is uplifting and euphoric. This is the most 90s like trance track and, as that’s my sweet-spot, this goes into my all-timer Jarre tracks.

Sex in the Machine Take 2 has a slow melodic beat and some warbly vocals but isn’t really my cup of tea as it sounds like a poor man’s Burial.

Zeitgeist Take 2 is a complex track and one that doesn’t gel with me. It is quite experimental but doesn’t have a through-line or consistent sound. The discordant noises smush together to make an incoherent whole.

Zeitgeist Botanica is a more melodious take on this track with a few vocals but the persistent arpeggio and beat keep it upbeat and flowing nicely.

So, overall, I enjoyed the album I think the first six tracks are good with Brutalism Take 2 and Epica Maxima being my particular favourites, but the tail end of the album didn’t excite or engage me. I’m glad that, at the age of 75, Jarre is pushing his musical boundaries and keeping things fresh. I wonder what he’ll come up with next….

LINK- Jean Michel Jarre Amazonia Review

LINK- Equinoxe Infinity Album Review

LINK- Planet Jarre Celebrates 50 Years of Jarre

LINK- Jean Michel Jarre Oxygene 3 Album Review

LINK- Jean Michel Jarre Electronica Vol. 2 Album Review

LINK- Everybody in the Place- An Incomplete History of Britain 1984- 1992 By Jeremy Deller

Jean Michel Jarre has been pretty busy over the past few years, releasing collab album Electronica 1 and 2 in 2015 and then dipping back into his first breakthrough album with Oxygene 3 and then releasing arguably his best album in years- the stunning Equinoxe Infinity. Now, he returns to his 'musique concrete' (the process of using recorded sounds to create a sound montage which is often abstract in its quality) roots by creating a sonic soundscape inspired by the Amazon rainforest and the works of photographer Sebastião Salgado.

For a certain contingent of Jarre fans, who were expecting derivative works based on the Oxygene and Equinoxe albums, this will be terrible news. They will claim that Jarre has 'lost it' and is ‘past his prime’ etc. But, as Jarre himself said during a Facebook Live session, "Some people are always unhappy". So for those who appreciate the chameleon like nature of Jarre with all its ups (Zoolook) and downs (Teo and Tea) this is an intriguing and exciting opportunity to see what the electronica maestro can produce when going back to his musical roots.

The new 52 minute binaural album will accompany Salgado's exhibition of over 200 photographs centred on the beauty and life of the Amazon, its bio-diversity and its peoples.

This album is a mixture of electronic and orchestral instruments sprinkled with approximations of real-life natural sounds. As a huge fan of his stunning Waiting for Cousteau album and particularly the final track, which itself was a meditative and calming piece where there was a spaciousness and tranquility, I was really looking forward to this album. Don't get me wrong, I love his musical compositions and the journey he takes you on but Waiting for Cousteau is his piece de resistance of ambient dreaminess and any chance of something similar would make me incredibly happy. So, how is the new Amazonia album?

The album works as a whole piece and I don't imagine listening to one track independently. It is very much a whole soundscape that creates a tapestry of sounds to immerse yourself in. It is a challenging listen in that there are very few standout pieces but the whole is wonderful and engaging. I can imagine listening to it after a hard day at work, just letting it wash over me and take me away to the tropical wonderland. I’ve tried to describe the mood of each track but it is difficult to categorise so please bear with my verbose flights of fancy if you can:

Track 1 is a veritable smorgasbord of sounds with motifs switching very quickly. It starts off very calming with chanting voices bouncing around, interpreted with a short gentle arpeggio but gives way to a lower guttural synthesiser sound.

Track 2 changes to a more upbeat techno-type rhythm which then has a deep reverberating sound that resounds in the ears. A high piano-esque motif plays and this is followed by fast pounding stabs which reminded me of John Carpenter's soundtracks. This track really does move around a lot and is hard to pin down but it works as a movement.

Track 3 has a compelling short rhythm which loops but is added to with an airy sound and a gentle drum beat. Vocalising changes the tack of the track and bird sounds enter the mix.

Track 4 has a haunting melody that has a threatening deep synch bass. One of the tracks of the album for me.

Track 5 builds on this and is busy sounding as a cacophony of voices, including babies squealing, plays in the background alongside a quick drum beat. This is then interrupted with a flute-y sound and the whirr of insects flying around before giving way to a crackling fire and an echoey crystal cave-y sound. It shimmers and wends its way around an aggressive whirring chainsaw sound.

Track 6 starts with children singing together against a backdrop of chirruping insects before a driving synth cuts in, threatening to break the calm.

Track 7 has a gentle rhythm but the gentle thunder rumbles and rain patters, bringing a whole Badalamenti vibe with a sense of sadness.

Track 8 has children singing mixed with an elder voice and a soft gentle drum and this goes into track 9 where the drum motif mixes with the airy Badalamenti synth sadness scape to end on a note of melancholy. But then some male vocalising and humming adds a sense of hope as the raindrops patter, adding a sense of hope of wonder. Then the synth hits as the thunder cracks and a synth choir enters, adding an angelic sound to the low drum sound.

Overall, Jarre has produced an interesting album and, whilst I haven't seen the photography exhibition it works alongside, I imagine it compliments the work to be diegetic. The album is well worth a listen and, whilst not as accessible and engaging as Equinoxe Infinity or his more ‘mainline’ albums, it is an interesting journey well worth taking.

LINK- Equinoxe Infinity Album Review

LINK- Planet Jarre Celebrates 50 Years of Jarre

LINK- Jean Michel Jarre Oxygene 3 Album Review

LINK- Jean Michel Jarre Electronica Vol. 2 Album Review