JEAN-MICHEL JARRE

Laurie Anderson is back for these "Métamorphoses". She had already collaborated on the very average (to say the least) "Zoolook" in '84.

The music featured on this album ranges from techno for a big chunk ("Je Me Souviens", "Tout Est Bleu", "Bells") to spacey and melodic ("Millions Of Stars" and to a certain extent "Gloria?"). I would have preferred more of the latter type. Sculptural vocals (or wording).

There are also some combos made of Oriental sounds and dance music ("C' Est La Vie", "RV A Paris") which are rather original and not too bad to listen to. Still, it isn't the JMJ I prefer. Somewhat too repetitive to my taste.

There is another homage to some space man here as well (after "The Last Rendezvous"), this time the Russian "Gagarin" (the first human being to travel into space). In some way, JMJ follows the same path as TD in the evolution of his music. Of course, his music has always had a more commercial flavour and it is again highlighted on this work.

I can't really say that this album is good. Some good parts, like the fine closing "Silhouette" which features some excellent vocalizing. But this work as a whole is closer to average and that's the reason I only grant it with two stars.

Wow, what an album. For a while I fell asleep every night listening to this album. There is something here beyond normal music- there's immense feeling, not really positive, not really negative. The best I can describe it is; it is the music of humanity, pure humanity- what we all are inside, without technology, jobs, houses, and society to constrain us, it is the essence of who we are. It's like happy people running around in flowers, with sun shining and green grass, unpolluted by the things we have made, the towering smokestacks pouring contaminants into our air, the black streets that cut the land into little pieces- it is nature, it is people, it is emotion. As I said before, it's beyond words- you need to hear it to understand. From a technical standpoint, it's very well-made, well-played, and original electronica made after Jarre's extremely successful Oxygene album- as evidenced by the track titles, it's not eight songs, it's eight parts of a larger entity, eight distinct yet related pieces combined into one magnificent whole that is the Equinoxe album. I don't like calling things essential, but I think that everyone should hear this at some point. A masterpiece of modern music.

The title of this album is somewhat misleading and would have gained in more credibility (but not marketing wise) if called "Earth, "Moon", "Heaven" or you can name it!

What's for sure is that the music is quite pleasant and enjoyable. Dynamic as well, which is not a feature that I demand specifically while listening to prog electronic music to which this artist fully belongs.

Pop sounds are also available, but no sell off here: the artist provides fine combinations of upbeat music combined with skilled keyboards lines. The man is skilled and gifted. As a composer as well as on the keyboards.

My fave because the most spacey mood is with no doubt the ninth part of this "oxygène" we all need to live. Bombastic, elegant, melodic, organic, fantastic and splendid. In one word: gorgeous. The highlight as far as I'm concerned.

There are some parts which could have been skipped ( like "10") but this is a usual stuff, right? If all tracks are outstanding, we should be confronted with a masterpiece which is not the case with this album (at least, it is my opinion).

If I can give one piece of advice: just stick to the original name and don't concentrate on this one. It holds some good moments, modern and upbeats parts ("11"), but the grandeur of the glass mastering is not there.

Three stars. A good album for sure. Like most of JMJ's output.

This "Chronologie" opens on a superb and grandiose "Part I" (not very original, I admit. I mean the title). It is a truly magical prog electronic song in line with his best and more known so far.

Actually, it levels the masters of the genre (prog electronic) and these wonderful keyboards lines are so moving, so melodic, and so skilled: extremely good and in some way this artist shows all of his talent throughout the decades.

Of course, he was not as prolific as Schulze or TD, but almost each of his effort so far (if you would except his first two albums as well as "Zoolook" was of good to high quality and this less known "Chronologie" is quite decent as well.

A good album, offering different atmospheres: after the heavenly opening, "Part II" is totally different. Bombastic, speedy, pop, commercial, joyful and entertaining. JM also reverts to his debut with "Part III" which sounds very much as a piece from "Les Granges Brûlées". A deep coldness combined with a sculptural melody. Another good song (third in a row).

The second half of the album is less interesting I'm afraid: while "Part IV" is radio friendly, I quite dislike the more techno oriented "Part V". At the end of the day, the glorifying closing part refreshes the whole which I rate with three stars. It started much more promising though.

This album is entirely "Cousteau" oriented.

Jacques-Yves Cousteau was a very well known French Oceanographer who released lots of films about the underwater life.

The first song, divided into three parts", refers to the name of the boat which was used by Cousteau to travel around the globe for his researches.

The pièce de résistance is the almost fifty minutes long title track which is a long and peaceful moment of electronic prog. Fine soundscapes, delicates keyboards for sure. But it probably lacks in texture, depths (!). It is really a tranquil piece of music which goal is nothing else than to bring us relaxation and help us meditating to reach the maximum piece of mind. I quite like it, but be warned: there aren't a lot happening here?

I'm not so enthusiast about some of the "Calypso" parts. The first one for instance sounds too much as a tropical combo dominated by marimba-driven sounds (even if provided by synths). It's OK while you're having fun on a beach but nothing else.

This album is not as solid as his earlier works ("Oxygen", "Equinoxe"; "Rendez Vous") but still delivers enjoyable parts. The almost techno-oriented "Calypso II" is not helping for sure.

Fortunately, "Calypso II" is more in line with the expectations of one listening to a JMJ album. It holds a nice melody and the bombastic and joyful mood is quite pleasant and optimistic.

In all, this is a good album but not an entry point if you want to discover the work from this artist.

When I listened to "Révolution Industrielle", it was almost impossible for me not to think about the Chaplin movie "Modern Times".

This mini suite (almost seventeen minutes) is probably one of the darkest song from JM. Obscure, tenebrous, mechanical, inhuman, oppressive, cold, mighty. At a certain time of Part I, the mood is somewhat more optimistic and light. Maybe to avoid suicide?But the gloomy atmosphere comes back pretty fast.

"Révolutions" is one of the least commercial piece from JM so far (although Part II is more melodic and in line with some prior works). I guess that by now, he could impose his will to whoever in the musical industry and felt strong enough to release this strong, but less accessible epic.

The languishing Part IV leads the listener to a "greyer" vision: some sort of mix between joy and fear. A fine closing for this very special piece of music.

This album is dedicated to the revolutionary people in general, but mostly to the children who (according the back sleeve) "carry the revolution within them". Hence, "London as well as Tokyo Kid". The former is more "refreshing", less horrifying than the suite. Good for the morale?The latter, on the contrary is quite hermetic and on the dark side again. It provides a feeling of total dehumanization.

The last three songs of the album are less convincing even if the bombastic aspect of "L' Émigrant" is quite moving. An hymn to all these people that leave their countries to settle elsewhere and start a new life. Some sort of instrumental "Refugees" (VDGG).

This album started very promisingly but the whole is not on par. Seven out of ten. Reduced down to three stars.

I particularly like this JMJ album.

A very good return to better feelings after the dispensable "Zoolook". The music here is superbly cold ("First") and bombastic ("Second"). As usual, the man reverts to some sort of concept album: one epic divided into several short pieces. The whole flowing nicely into one another for some thirty-five minutes of very enjoyable synth orgy.

Even if there is no such hit as "Oxygen IV" and "Equinoxe V" there is still a good attempt with "Fourth", and this album certainly worth a detour for its good overall quality level of skills, melodies and passionate passages.

One of my favourite is the beautiful and warm "Third". To some extent, there are some similarities with his soundtrack "Les Granges Brûlées" which didn't score very high as a whole but did hold some excellent melodic parts. This section is really moving and offers a delightful moment to all electronic lovers.

The most hermetic part is obviously "Fifth": not too far from "Kraftwerk" and an experimental counterpart to maybe some more commercial acts.

The most emotional one is without any doubt, the sublime and closing "Last RV" (See B-J1 for more details). The mood is very dark, oppressive (for obvious reasons) and reminds me A LOT of the great "Subterraneans" from "Low" (Bowie ? 1977). Poignant sax, sad atmosphere, passion in all its splendour. A great track indeed.

Four stars for this very good electronic prog album. Nothing to do with prog related IMO.

The prog electronic genre delivered some amazing trilogies: TD, Schultze and Jarr for instance. Although I prefer the first two of this list, I have to humbly admit that Jean-Mi holds everything you could expect from a genius in musical terms.

These "Magnetic Fields" are no other than his prior two albums. A long epic divided into several "parts". It could have been like "Bells" or "Rubycon" but the man wanted to have it sliced. And the slices can be easily identified.

I have to agree with other colleagues that the beautiful and long "Part I" is one of his greatest moments (but the man delivered lots of these). It is a sublime travel again. Far away from home, up there.

Great and ambient lines, upbeat and more sonic parts as well, melodic passages, cold but passionate music: you get it all here. For sure that it might not be as complex as some of the greatest German counterpart (JM is not at all as prolific as the ones I have mentioned earlier in this review), but he delivers intelligent and quite approachable soundscapes.

Some sounds from typical of the eighties are also featured, which is maybe not a sign of absolute brilliance, but so were the days. The pop "Part II" is maybe the best known section of this album: not the best one IMO but not bad either. A simple, fun and upbeat synth pop electronic tune.

Some "jungle" electronic prog is available during "Part III". A wet exposure to the rain forest, to his music. A peaceful journey, a fine introduction to the splendid "Part IV" which is all delicacy and harmony.

It's the third very good moment available on this work even if the last third holds more of the repetitiveness of some "Kraftwerk" songs.

I rate this album as high as his prior two ones, although seven out of ten would probably be more appropriate (the poor closing is really difficult to digest). Four stars.

This "Zoolook" is a dramatic change from musical style for Jean-Mi when you compare this work with his latest three of his albums.

This one is much more on he experimental edge, but the presence of the great Laurie Anderson is not alien to the feel. The great opener "Ethnicolor" is a superb tribute to her talent. Some sort of melody is only present during the last couple of minutes which are offering an explosion, a fireworks of incredible sounds. I really like these.

I can understand that one can be "shocked" while listening to this album, but after all Jean- Mi is playing prog electronic and is allowed to offer some penetration or in-sight into less accessible paths. Which "Zoolook" certainly is.

The next "Diva" starts promisingly but ends up in a funky affair of which Belew can only be a compelling part. The title track might sound too much of an eighties synth song à la "Human League" and can be dismissed therefore. Now, to be fully honest: I won't tell you that it is a great song. Far from it?

All these sampling are not my cup of tea. I believe that Jean-Mi wanted to get back of his roots with this challenging album (as his debut "Deserted Palace" which was also quite experimental).

Don't expect anything as melodic as "Oxygène" or polished as "Equinoxe". This work is quite demanding in terms of open mind. The funky "Zoolookologie" could have been taken out of a "Talking Heads" album. With added synths.

This album is not very good as a whole. A promising opening track, and that's it. This change in musical style was quite unexpected. Experimental electronic prog.

Two stars.

It is always damned difficult to release a great album after a great album. Huum?are you following me?

The man does use the same technique, skill and maestria than for "Oxygène", maybe an inch lower in the hierarchy of commercial feel.

The music performed holds its bunch of emotional affairs, gut feeling themes, above the atmosphere music which is able to reach unmatched textures: in one word it is another of his extremely good albums.

I am of course biased, being a deep lover of prog electronic. But I only want to share my passion with all of you: some of these moments are just magical. As some TD or Schulze in their first decade of grandeur. No more, no less.

I guess that this shows enough the quality of this album. But JM already demonstrated his talent during "Oxygène". The great point is that he is matching again the expectations (which were quite high after such a ground breaking album).

This one man band is quite efficient in terms of bombastic themes ("Part IV" for instance) and grandiose music. It is of course more commercial than lots of his fellow mates (the great German wizards) but at this stage one can't say that the man was selling off or playing too conventional music. "Part VII" is sublime, attractive, rhythmic and just beautiful to summarize in one single word.

Let's not forget that this album was released just after the punk explosion and the new wave ignition. This is probably why I didn't discover it at the time of release since I was much more involved into these scenes. But such a work does pass the proof of time and each of us should at least spend some time to try and appreciate.

Similar to "Oxygène" and its famous "Part IV", this one is also holding a chart song with "Part V": an upbeat, synthetic and melodic pop electronic track. A good track, in line with the whole of this album.

To have this artist catalogued into the prog related genre is quite bizarre. Electronic prog would be a "suit" that would "suit" him much better. This aim will surely be met.

Four stars for this very good album.