Four decades after the seminal album
Equinoxe, one of the most significant artists of the French School of electronic music has released a concept album that is tightly connected with that memorable epic from the late '70s.
It is concerned with the advent of artificial intelligence and the increasing digitisation of our lives. As
Jean-Michel Jarre put it in a recent interview, after a somewhat disappointing contrast between what we idealistically expected from the new millennium and what we actually had in terms of technology, we are returning to that sense of wonder about the future.
Whilst the album intends to imagine what the world may look like in 40 years' time, both with its utopian and rather more dystopian elements, it embraces eminently retro technology, too - together with state-of-the-art production.
Jarre has used some of his earliest analogue synths in his arsenal, hence sonic references to his first two albums are abundant - but we have also the latest digital technology eminently present in the journey that
Equinoxe Infinity is.
As with the second and third installment of what has become the
Oxygene trilogy, it was quite a task to make the album sound contemporary, make it stand on its own, yet directly reference the instantly recognisable sonic world that made the originals into major landmarks of the history of electronic music.
The opening track,
The Watchers, has those direct references in the arrangements, yet the main musical motif is surprisingly
Vangelis-esque in its gentle melancholy and the inflections - one is reminded of
Oceanic.
Flying Totems injects considerable energy and synth-pop DNA into the mixture of different moods that the album gradually proves to be. The layers of sequenced motifs and electronic effects are self-consciously pointing us toward the
Jarre sound of the late 1970s, with catchy and soaring melodic lead lines - an instant lift after the meditative opening of the album.
Robots Don't Cry is continuing the very direct references to the percussion, sequencer and melodic patterns of
Oxygene and
Equinoxe of yesteryear, including that characteristic glissando - whilst some bass arrangements are quite here-and-now...
All That You Leave Behind maintains that tight connection with the 1970s soundworld in Jarre's discography, whilst the melody and the overall mood of the track is of almost anthemic nature.
If The Wind Could Speak and
Infinity show the age-old truth: simplicity is one of the hardest things to achieve. Both tracks are charming in the purity and simplicity of the melodic lines, the latter is quite typical chart material - with the chorus and its arrangements making again very direct references to the opening track of the 1978 album's B side. So is the way in which blends into
Machines Are Learning, the 7th movement, with the sequencer pattern reminding us, probably quite intentionally, of the former album.
Both aforementioned movements 5 and 6 tracks also introduce processed and pitch-shifted vocal sounds. In 2018, one could forgive listeners for thinking just how retro this all sounds... If one recalls the mind-blowing innovative world of
Zoolook from the early 1980s
(at a time where most used the revolutionary
Fairlight sampler for just pedestrian playback of samples), this use of vocal samples in 2018 strikes one as quite conservative, even trivial.
The Opening continues with tight bass sequences reminiscent of the 1978 album, showing again a conscious choice of synth sounds to reference the B-side of that LP. It is another driving and high-octane, unashamedly happy and entertaining track.
Don't Look Back is more pensive, the filter sweeps on the white noise and the strings being again firmly rooted in the
Jarre sound of the 1970s.
It almost seamlessly blends into the final track,
Equinoxe Infinity, which is also a return to both the introspective mood of the opening track and its melody - making us think that perhaps the album will float away with this reprise... However,
Jarre treats us to an epic build-up of patterns that start off deceptively simple - and lead to a majestic finale, which is all the more effective as it pulls back and calms to an almost ambiental, gentle soundscape in the last seconds of the album.
Overall, it is a structurally very cohesive and flowing concept album, albeit with quite a few gear shifts - it feels more consistent that the recent, and final, installment of the
Oxygene trilogy.
There are no sharp changes and sudden corners in
Equinoxe Infinity - it has, as the best of
Jarre albums do, the ability to fill the room and transport the listener to a highly characteristic sonic Universe.
There are no excesses and there is no self-indulgent technological showing-off, the album is remarkably modest in a good sense...
One central contradictions remains: with all the musings about the future and how this album set out to meditate about how the world will look like in 40 years' time... can we find a single second on this entire album that is electronic music pointing to the future, instead of very self-consciously referencing the past?...
Whether it represents something still novel and unique in the soundscape of the second decade of the 21st century, whether it adds something memorable to the considerable
Jean-Michel Jarre story of many decades of electronic music, well, that is a very personal verdict - one for each listener to make...
