Expectations were quite high for this album, Jean-Michel Jarre returning to his second (and possibly best) album and spinning a sequel for its fortieth anniversary, with three tracks slowly being leaked out prior to the albums release which promised something special.
Turns out, those three tracks were the best on the album.
Indeed, grand openings were possibly always Jarre’s forte, from Oxygene to Equinoxe, through to Zoolook and Chronologie, and it is proved again here with a great moody scene-setter, The Watchers (Mvt.1) that is epic and sexy and cool. The second track, Flying Totems (Mvt.2), is a glorious throwback to when 1970s Jarre seemed to be the sound of The Future, reveling in classic analogue synth soundscapes. But then the album starts to fall apart, until it’s apparent that it is aimlessly meandering to its quick conclusion (the album scarcely over 30 minutes long). Its really quite disappointing, even for latter-day Jarre. Each track feels too short, and too shy of any fresh ideas. Perhaps Jarre is spending too much time on tour and not enough time in the studio- some of the tracks have promise but just when you’re expecting them to develop, they are suddenly over. Worse, the one track that is long enough to show some development, the final track that carries the title of the album and is over seven minutes long, just collapses into electronic beeps and whistles and ambient effects as if Jarre is trying to turn what amounts to a ten-track e.p. into a double-side album proper by just, well, literally stretching things out in a last gasp of effort.
Which is alarming, really. It seemed that Jarre was revitalised following his two Electronica albums of collaborations but he seems to have resumed the decline, and this brief album of synth doodles (which lets face is it is all that the majority of this album amounts to) is a pale shadow of his early classics. Pity.
But in the words of Obi-wan Kenobi, “there is another”, and that’s Vangelis, with his own new album out early next year. Let’s hope the Greek Maestro has another great album in him, while Jarre goes back to the drawing board (or his next concert).