Jean Michel Jarre - "Bridge to the Future"

Exactly one week ago I witnessed a concert spectacle which could easily be the very last one of its kind. Frenchman and living legend Jean Michel Jarre was asked to perform the opening concert for the seventh edition of the Starmus Earth Festival (being held from May 12-17th). The announcement only was a little more than one month in advance.

Extremely excited for the first big outdoor concert by the maestro since his large gig in the harbour of Monaco, as part of 2011's wedding of Albert II of Monaco and Charlete Wittstock, and considering Jarre's age (75, so how long will he continue doing these kind of events?), I didn't have to think long about getting my plane tickets and make an appartment reservation.

The concert took place on Sunday, May 12th, so I decided (also due to the restricted amount of flight options) to travel to Bratislava, capital of Slovakia, on May 8th, and head back to the Netherlands on May 13th, the day after the concert. Then, Bratislava is a wonderful town which I hadn't visitied before.

Most SNP UFO bridge.

Starting to follow Jean Michel Jarre's career since 1990 (knew his music already before), being present at his Paris La Défense concert (traumatic experience afterwards, as I was on the Eiffel Tower during the concert, assuming people were watching the sunset. Which was not the case at all. Two weeks later a nephew let me hear "Revolutions" and the then newly released "Waiting for Cousteau", followed by the information that the La Défense concert took place while I was literally there), and went to see him play live (consciously) for the first time during the Europe In Concert tour in Brussels, August 24th, 1993.
In the years that followed I went to many of his concerts in Europe. From the big scaled Concert Pour La Tolerance (Paris, 1995), Aero (Aalborg, 2002), Gdansk (2005) and Monaco (2011) to the indoor concerts of the Oxygene 7-13 Tour (Rotterdam and Lille, 1997), Oxygene (Paris, 2007 and Amsterdam, 2008), Indoors Tour (Amsterdam, 2009 and Rotterdam, 2010), and even intimate gigs like Bourges (2002), Teo & Tea showcase (Lint, 2007) and IRCAM (Paris, 2023). Also got the opportunity to interview Jean Michel Jarre back in 2010 and 2011, and organised a meet-and-greet after the 2009 concert in Amsterdam.

Bratislava Castle.

Being in Bratislava for the first time, I spent my first days there to discover the old centre. Traveling together with good friend and fellow Jarre-fan Marco Blom, we did some sight-seeing there and visited the Bratislava castle, looking out over the river Donau and the city.
We also visited some music stores, went to even more terraces and restaurants, and tried out some of the many ice cream shops.
On Thursday I also had time to watch the second semi-finals of the Eurovision Song Contest (the evening there was no controversy yet).
When we arrived in Bratislava, building of the stage had already begun, so we already went to the concert site in between our tourist activities.

We arrived on Wednesday, and nearing the weekend we met more fans and people who came here to attend the concert. Another fan, Milan Csáplar, who also lives in Bratislava, organized a fan-meeting (before the final rehearsal on Saturday and after the concert on Sunday) at the Riva Bar - a boat on the Donau, near the iconic Most SNP UFO bridge, which also was part of the decor of Jarre's concert. The bar was reserved for fans who litterally travelled all over the world to witness this unique event. It was a real pleasure to meet so many people, who have been connected for so many years, and who actually only use to meet during these kind of concerts. Although I met a handful of them at last year's concert at IRCAM in Paris, previous much bigger meeting had already been a while ago, during the Monaco concert, back in 2011; 13 years back in time to be precisely.

Fanmeeting at the Riva Bar, May 11th. Photo by Hogne Bø Pettersen.

Good to see a lot of my friends again, who seem not to have aged with the exception of some grey hairs, and which felt like we saw eachother yesterday, strangely enough. I also got to meet new fans, as well as people who I am connected with on social media, but had never met before in real life. And then thoughts were also with friends who also have been part of the 'clan' for so many years, who couldn't be here because they couldn't arrange their trip because of the short-term announcement, and not in the last place those who left us too early: Gertjan Ronner, Marco Kerkdijk and Karel Krijger.

In the previous days we had the opportunity to visit and explore the concert site (which was situated around a fenced parking place with the stage, and nearby highway), and witness rehearsals and various soundchecks. The final rehearsal was on the Saturday, and free to attend. Although a large part of the roads to the concert site were closed, which was said this was due to the drones. In fact I think they would control the amount of people while the neighboring highway was only partially closed, so a sort of risk.

Jean Michel Jarre and his musicians Claude Samard Polikar and newbie Adiescar Chase were supported by Queen's guitarist Brian May. Brian's appearance as special guest was already announced at the presentation of the concert. The collaboration didn't come out of nowhere, as Brian is initiator of the Starmus Earth Festival (of which the first edition took place in 2011), and in 2016 there was already talked about having a collaboration between the two. Which didn't go on then.

ESET building.

During the final rehearsal, all concert tracks were played, sometimes with interruptions in between. We found a nice spot on the outside of the fence, somewhere around 150 meters from the stage, as being in the front part, and inside the concert site was prohibited. All in all a perfect to experience the rehearsals. People attending the rehearsals got a bonus, as "Oxygene 8" was played, but very unfortunate skipped during the concert on Sunday. Reason unknown. The rehearsal started at 9 PM. Slightly past 10 PM the sound volume was put down, due to permissions. And 11 PM they finished the last song, after which everyone smoothly left the concert site.

During the last days, step by step, things to happen during the concert became clear more and more, and increased the excitement. Firstly the track "Second Rendez-Vous" was also being played by a brass section and choir. So powerful. Goosebumps.
Then - something that could also have been derived from the AI visualizations when the concert was announced - there were drones, decorating the sky above the stage. On the day of the concert, it was confirmed that fireworks were also present. So before the concert it was certain that actually nothing was lacking for a classic Jean Michel Jarre extravaganza.
Another advantage was that the weather connditions were perfect all these days. Average of 25 degrees during the day, cooling down to something like 15 in the evening.

The day of the concert, we (Marco, Niek (who arrived on Friday) and I) went to the concert site around 2 PM. Not knowing what to expect yet, by means of people already gathered there. When we arrived, there were already sitting people on the slopes below the highway, offering perfect view on the stage. But it was definitely not that crowded yet.
In the afternoon there was an important ice hockey match between Slovakia and Kazakhstan (for those interested: Slovakia won with 6-2). No idea if this was a reason, but only 1,5 hours before the start of the concert, it became really crowded.

Thanks to Jarre's managament - who spread the word to various fans including Claus, Milan and Signe, a selected group of fans (100-150) - including Marco, Niek and me - were allowed to get into the concert area at 5 PM. An hour before the actual entry. As the entire parking lot was still empty, we got the opportunity to find the best spot to experience the concert. In first instance standing right in front of the stage, but already had in mind to get some more to the back. Together with Marco, Niek, Coen, we found our place right behind the fence of the 'golden zone', which was reserved for festival ticket holders (and this space luckily wasn't packed with people). The perfect spot if you ask me, as we were situated in the center of the stage, at something like 100 meters distance from the stage, overlooking the entire scenery, including the castle and the UFO bridge in the background, the stage itself, the lights and fireworks, and the projections on the ESET building on the right side. ESET was was one of the main sponsors of the event.

Despite the fact that it didn't make the wait less enjoyable, there was no "Waiting For Cousteau" to be heard. The 46:53 minutes piece of music, which always marked the waiting for a Jean Michel Jarre concert for the last three-and-a-half decades. Instead there was repeated a rework / variation of the classic 1990 track. After the wait, the countdown started and we lifted off at 9 PM precisely. The concert was also to be enjoyed worldwide via live stream, so everything had to be strictly according to schedule.

The first half of the show was performed by only Jean Michel Jarre and his band.
An atmospheric opening, after which the energy built up very fast. Reworked classics from "Oxygene 4", "Oxygene 2", "Equinoxe 4", "Equinoxe 7" and "Industrial Revolution part 2" were in fact all classic Jarre songs (except for two songs from the 1986 album "Rendez-Vous", which followed later) during this evening, alternated with some newer tracks like "Web Spinner", "Falling Down", "The Architect" and "Zero Gravity".
During the opening track ("Coachella Opening"), firework were introduced cautiously. A wonderful and promising way to start the concert, and to get involved into the magical world of Jean Michel Jarre.

Slightly before halfway of the evening things got more intense with the introduction of the band members, as well as the trombone section of the Slovak Philharmonic Orchestra and members of the Slovak Philharmonic Choir. Time for "Second Rendez-Vous". This was such a blast, especially with the input of the latter two. Halfway the track, which was renamed to "Rendez-Vous Bratislava" for tonight, the iconic laser harp part (which was saved for the finale of the evening) was left from the track. This was the point Brian May came in. Bombastic, powerful, and the realisation this is one of the things I have always loved the music from Jean Michel Jarre for. Concluded with lots of fireworks.

Followed by a welcome slightly calm (at least the start of it) intermezzo performed by Brian May, based on an excerpt of 'The New World", one of my all-time favourite classical music pieces, by Czech composer Antonín Dvořák.

Then it was time for a lot of newer "Electronica" era pieces. "Exit", "Azimuth", "Herbalizer", "Oxygene 19" and "Glory". Followed by the infamous "Fourth Rendez-Vous" (but in my opionion it's a great song, which always works live, but Jarre hasn't include it into his shows for quite a while), building up to the grand finale with "Stardust", going all the way with a more than impressive amount of fireworks. Goosebumps and emotions all over the way. I can die happily!
But not before the encore with Jarre using the laser harp the only time this evening, playing "The Time Machine" (renamed to "Bratislava Time" for this ocassion), joined by heavy rock guitar by Brian May.
What a final, what an evening, what a show!

Only remained the big 'thank you' to all people and organizations involved into this huge project.
And an epic slip of the tongue by Brian May proclaiming Jean Michel as Jean Paul. While the concert video has been edited while we speak, this meme will live forever amongst the established Jarre fan. So keep in mind if anyone is starting a conversation about Jean Paul Jarre, you don't need to correct. Before leaving the stage, Jean Michel Jarre took the opportunity to take a selfie with all audience.

The evening's overall musical vibe was rather uptempo and energetic. I think this was a significant different with Jarre's old shows. But this musical direction he chose to go into might appeal a younger audience, and I can completely live with that!

Visuals made specific for this ocassion were simply stunning, and from time to time the intensity of the lasers created the suggestion that the large environment suddenly became a lot more compact and intimate. Overwhelmed by the fireworks. Everyone was litterally part of it all.

11 PM everything was finished, and once again we headed to the Riva Bar for yet another meeting and after-talk at the Riva Bar.

The day after, I had all the time for some breakfast and buy some souvenirs. During the afternoon I headed back to the airport together with Zita. One of the fans I met at the Riva Bar, and by chance had exactly the same flight back to the Netherlands.

The last couple of days have been very energetic, exciting and overwhelming, and I really felt being 20 or 30 years back in time again.
Jean Michel Jarre once again proved he still can do the things he has been good at for 45 years. Although he seemed little tired at the end of his show (which is not that strange), it's unbelieveable he still has so much energy at at his respectable age of 75. But the question is: will Jean Michel Jarre 'just' continue the smaller scaled concerts in which he has been involved since the pandemic, will we get another opportunity again to see anything on this scale, or did somewhere in between 30.000 and 100.000 people (official sources say 100.000, but it's hard to confirm) really witness his last huge outdoor concert ever? However, it was a privilege and blast to be part of this "Bridge to the Future" project. Another experience to never forget, leaving wonderful memories for the rest of my life.

For the completists, here is the setlist:

Opening (Coachella Opening)
Epica Oxygene (Oxygene 4 / Epica)
Oxygene 2
Web Spinner
Equinoxe 4
Equinoxe 7
Falling Down
Industrial Revolution part 2
The Architect
Oxygene 8 (was only played during the rehearsals)
Zero Gravity
Rendez-Vous Bratislava (Second Rendez-Vous)
New World Symphony Bratislava 2024 (classical piece by Antonín Dvořák)
Azimuth
Exit
Herbalizer
Oxygene 19
Glory
Fourth Rendez-Vous
Stardust
Bratislava Time (The Time Machine)

And if you want to see what this fuzz was all about, or just relive this excellent concert, you can still entirely watch the wonderful registration on YouTube. Please note that it was announced that the concert might be taken offline within a couple of days or maybe weeks, so don't wait too long.

In memoriam: Dominique Perrier

My good friend Dominique Perrier passed away on October 4th.

 

It must have been somewhere late 2000s when we first met. I have met Dominique a couple of times after Jean Michel Jarre concerts. Always in the background, but one of the most beloved members of JMJ's band.

He was a sympathetic, friendly, down-to-earth, and charismatic keyboard virtuoso, who already had his own musical successes before joining Jarre's band in 1981, being the first Western musicians to perform in the post-Mao China.

Dominique's house was full of merchandising and memories from this concert tour, because this period has been very valuable to him without any doubt.

Space Art's first album "Onyx" (1977).

Space Art was his pride. The band which he formed together with Roger Rizzitelli, and which sold 3 million copies worldwide of their first three albums.

Dominique did a lot of other projects, collaborations and productions, including Stone Age, Didier Marouani & Space, Christophe, Bahamas, Gypsy Kings, and composed a number of movie soundtracks.

After three decades Dominique left Jean Michel Jarre's band in 2010. The year Roger Rizzitelli, and a couple of months later also Dominique's wife Janet Woollacott, died. In 2012 there was the Space Art Tribute, which was the band's first output since 1981. Gathering dear musicians and friends to be part of this so-called Dominique Perrier Project. An European promo tour takes place.

Space Art live at E-Day, Oirschot, NL (29-4-2017).

I managed to arrange some of these 2012 promo concerts for Dominique, and around that time I also started doing part of the sales and distribution of the music of Space Art. We became good friends, met several times in the centre of Paris, and I visited his place just outside of Paris multiple times.

 

In 2017 Space Art headlined the E-Day Festival in Oirschot. Dominique deliberately wanted me to join the band. He didn't want to be in the spotlights that much, and preferred to have give the younger generation more exposure.

We had relatively short rehearsing time, but it definitely was a nice party on stage!

Space Art's latest album "Personal Duty" (2023).

It took another couple of years (until 2020) until the next Space Art album "Entrevues" was released. From now on together with Tommy, son of Dominique's former band mate Roger Rizzitelli, on drums.

Very recently, on July 14th of this year, the latest Space Art album "Personal Duty" saw the light.

It was a real honour Dominique wanted to release these both albums on my Deserted Island Music label. He was fed up with big record companies, and he saw in me a trusted and dedicated partner.

I have always liked the music from Space Art, because it sounds natural, organic, honest, and not over-polished or over-produced. Love the song structures, instrumentations, melodies, and stories they had to tell.

And once you got to know Dominique's way of thinking and his humour, there are a lot of hidden jokes to discover in a lot of his music. Even on his latest album "Personal Duty" where Dominique put himself in the shoes of fictionary bass player Bruce B. Marshall. The output of a normal bass player is a low bass sounds. However, Bruce's range is one or sometimes even two octaves higher. Which sounds quite hilarious if you listen to the music with Bruce in your mind.

Me, Michel Geiss and Dominique, 29-11-2022..

November 2022 I stayed a couple of days at Dominique's place. Combining it with my more or less annual visit to Paris. One of the evenings Michel Geiss also came along, because we wanted to discuss the mastering for the new Space Art album. Which ended into a wonderful evening with a lot of stories and memories from times gone by.

Peter Dekker, me and Dominique, 13-1-2023.

January I visited Dominique together with Peter Dekker. Also to discuss the last bits about the then upcoming new album. We had an entertaining evening, where Peter brought some rare single releases (related to productions by Dominique) from his own collection. A couple of these were totally unknown to Dominique, and he was clearly moved when Peter gave these to him as present.

One week before the July 14th "Personal Duty" album release, I again visited Dominique to hand over the new CD and LP's. Exactly that weekend, he had been admitted to hospital due to ongoing heavy headache.

I planned to visit Dominique in the hospital once more within coming days because of worsened health conditions, but unfortunately he didn't make it that long. Now I am making up for the final farewell, during the funeral, coming Thursday.

I miss you, dear Dominique!

Visiting Paris will never be the same again.

Hopefully you are having a great musical party there where you are!

Au revoir mon ami!

Paris

Since a couple of years I am aiming to visit Paris at least once a year.

When I planned to go in April 2020, the pandemic kept me from going.

So it felt really good to finally be able to return again to one of my favourite cities, to have a great time and met some dear friends.

I stayed at - my good friend - Dominique Perrier's house from Saturday November 26th until Wednesday 30th.

During the days I took the train from his place to Montparnasse train station.

Together with Marie-Laure.

Saturday, the day of my arrival, I met with Marie-Laure Leboucher (C.Zen Prod) at La Défense. She also brought some new stock from Space Art and Francis Rimbert albums with her. After our meeting I travelled to Dominique, which also was a very pleasant reunion.

For the following days I had a small list of adresses (mainly music and retro game stores) which I wanted to visit these days. But in the end I only visited a couple of them, because I spent a lot of time to 'just' wandering around and absorb the atmosphere. In the end I only bought myself one CD and 4 special LP's for a friend.

Montparnasse view.

While I spent largest part of the time at the Les Halles area, I also visited the Eiffel Tower, Sacre Coeur (looking over Paris by night), and went on top of the Montparnasse Tower for the first time. The 360 / panorama view was very impressive.

Some times I also watched some parts of the World Championship soccer matches on big screen.

 

With Michel and Dominique.

The time I was together with Dominique, we had 

good conversations, watched film, and I had the privilege to hear new Space Art music. Actually it's the music for a new Space Art album, which Dominique again wants to have released on my Deserted Island Music label.

 

Again, Tommy Rizzitelli (who unfortunately didn't have time to meet up these days) took place behind the drums for the new album, and Michel Geiss is going to take care of the mastering. Tuesday evening I finally got to meet with Michel in person, who came along Dominique's home. Besides discussing various (musical) topics, Michel exposed as a real storyteller. Loved it! We had a very joyful evening.

January programme
at IRCAM entrance.

Then, I impulsively decided to go back again to Paris the weekend of Janary 14th, 2023. This time together with some friends. We will visit Jean Michel Jarre's concerts at the IRCAM. Around that time I also expect to have more details about the upcoming Space Art album.

And last, but not least, Dominique gave me a couple of discs from his collaboration with Michel Valy from 2010, "Temps Réel". As well as he autographed some copies of his latest Space Art CD "Entrevues". Both are available from the Deserted Island Music webshop. Don't wait too long, as these titles (and in particular "Temps Réel") might not be added again as soon as they are sold out.

Jean Michel Jarre - 40 years Oxygene

OXYGENE
Somewhere at the end of the 1960s, a certain Frenchman in his early 20s gets involved into electronic music, and pioneers as member of the Musical Reserche Group of inventor of the Musique Concrète, Pierre Schaeffer.
In between the late 60s and halfway the 70s this Jean Michel Jarre releases some obscure synthesizer LP's, which pave the road to a historic masterpiece that would become one of the most influential electronic music compositions of all time. This iconic music piece from 1976 is called "Oxygene".

"Oxygene" seems to be milestones away from the music Jarre recorded shortly before, such as "Deserted Palace" and the soundtrack of "Les Granges Brûlées".
It is not necessarily the music that is different, but the big difference can be noticed in the production. This is from another order and way ahead for its time.
Where Jarre did the production of his music himself before, he involved sound engineer Michel Geiss for this project. Which also might be the main explanation of the album's rich sound.
Recorded on an 8-track tape recorder in his kitchen in 6 weeks time, it seems that there was no real intention to create a commercial successful album.
Francis Dreyfus - who owns a renowned jazz label at that moment - decides to invest in Jarre and his new project, and releases "Oxygene" in December 1976.
The not so mainstream electronic music is not widely accepted in first instance, but in the summer of 1977, the album becomes a real hit, selling 15 million copies worldwide since then.

Jarre couldn't have chosen a better subject than he did with "Oxygene" for this synthesizer based record. With the instruments he uses, it is possible to create sounds and effects that could impossibly be created with any other instrument.
A typical sound that would become Jarre's trademark from that moment, was generated with an Eminent 310 Unique chamber organ. The characteristic strings sound processed by an Electrohamonix Smallstone Phaser creates a 'spacey' ambience.
As a result of this, the Dutch organ manufacturer started to sell huge amounts of their instrument. Afterwards the firm declared that they were not amused at all that Jarre used their instrument in a way it was not intended to.

The atmospheric sounds with which "Oxygene" opens, are innovative for the period in which the album sees the light. The over-all sound is fresh and takes you to an unknown universe.
Despite this, the output is very melodic and, as a result of this, very accessible.
"Oxygene 4" is Jarre's breakthrough. If you analyze this track, the success of it can be explained by the typical structure of a popsong, with a verse and chorus.
A lot of people might recognise this tune, without knowing Jarre is behind it.
"Oxygene" contains a cross-over of various musical influences, which join in a wonderful way.

The accompanied carefully chosen recognisable and confronting artwork by Michel Granger shows an torn globe, under which a skull is being exposed. As well the album as the artwork have achieved a cult status. 

OXYGENE 2

In 1997 it is decided to release the follow-up of the classic album: "Oxygene 7-13".
For the occasion of current 40th anniversary, the album got back its original title (although never released this way) of "Oxygene 2", to fit into the trilogy box. Also the colors of the artwork (also a meaningful litograph by Michel Granger) have been adjusted to the first "Oxygene".

This 20th anniversary sequel is entirely in line with the "Oxygene" tradition. Blending typical sounds to be heard on the original album with modern new sounds from the 90s. This results into a perfect fitting into the zeitgeist, respecting the roots.

An "Oxygene 7-13" 'world'-tour follows, and Jarre enters the charts again with the singles "Oxygene 8" and "Oxygene 10".

OXYGENE 30TH ANNIVERSARY
With the 30th anniversary of Jarre's classic album in 2007 there is chosen to have a re-recording of the original material of the first album. With the addition of some variations in between some of the tracks. This version with the new parts are not included into the 40th Anniversary.

With the 2007/2008 "Oxygene Live In Your Living Room" concert tour, Jean Michel Jarre integrally performs the entire "Oxygene" suite (including the new variations) for the first time ever. On stage he is accompanied with a backline of 50 rare and analog synthesizers. Including the instruments that have been used on the original album.

OXYGENE 3
Jarre always said he wouldn't repeat his successes. However, 40 years later the unexpected third and final episode of "Oxygene" is a fact.

During the interview I did with Jarre back in 2011, he spoke about a new project with a lot of analog gear. It could easily be that the first ideas for this new "Oxygene" were already there at that moment.
The French synthesist approached "Oxygene 3" with a total different look at the process of the original album. With a 6 weeks recording period as only similarity.

The first fact of the new album was premiered during Jarre's "Electronica Tour" concert in Cardiff, on October 4th: "Oxygene 17". A couple of days before Jarre's official announcement of the new episode on his social media on October 12th. Since then this track is included with the following concerts of the tour.

October 26th, German mailorder JPC publishes the first sound clips from all the album's tracks. These expose classical elements from the precedors of "Oxygene 3". But it also suggests a more 'dance' oriented musical style. With this, Jarre doesn't seem to aim on copying what he has already done before. After the approach of "Electronica", this makes me even more curious to the entire album.

November 3th, the entire studio version from "Oxygene 17" is released on Spotify.
Three days later "Oxygene 18" appears as part of an ambient mix by Raphaël Marionneau (https://www.mixcloud.com/abstrait/abstrait-ambient-1/ - from 7:20).

Bit by bit there are 'leaked' longer exerpts from the album, followed by the official video release of the album's single "Oxygene part 17", on November 23rd. A day before an "Oxygene 3" listening session for a selected group of people at the Palais de la découverte, in Paris. With Jean Michel Jarre's presence.

And right before the end of 2016's "Electronica Tour", Jarre performs "Oxygene 19" for the first time live during his concert in Nantes, on November 29th.

And then there finally is the album, on December 2nd.
"Oxygene 3" is physically released as single cd, lp, and as part of "Oxygene Trilogy" (3 cd-set) as well as the "Collector's Box" (3 cd's, 3 lp's and a book).

But what does the new album sound like?

"Oxygene 14" starts with low bass tones, followed by an straight synth arpeggio. A Rhodes lead sets the tone and introduces the album. A synth counter-melody takes over, and again makes place for the electric piano melody. While the first 3 minutes don't contain too much progression, the second part gets layered with more arps and sequencing. A string pad adds some drama and creates the necessary atmosphere. With the addition of the laser harp at 4:13 the track gets the same atmosphere as the opener of "Electronica 1", "The Time Machine" (with Boys Noize).

"Oxygene 14" continues flawless into "Oxygene 15". A gated sequencer line sets the overall atmosphere. The sound and loop evolve later during "Oxygene 17". From the beginning the famous Eminent 310 pads create a typical Jarrean atmosphere.
From 1:30 an minimal analog Minipops rhythm is added.
A lot of references with his recent "Electronica" project. This track reminds me of the track "The Heart of Noise" (with Rone).
Halfway the track contains a intermission, after which the main gated sequencer takes the lead again. More and more sound effects are being added. However, the musical lines remaining minimal. At 5:20 a more aggressive sequencer accelerates, and seems to predict something heavy. One minute later it just fades away.

"Oxygene 16" is perhaps the track that fits most into the classic "Oxygene" cyclus.

A lot of recognisable sound effects, chords from "Equinoxe 3", and sounds could have been from the "Laser Harp" track from the "Concerts in China" album.

At 1:24 again a beat is introduced. It looks like Jarre decided to keep it all uptempo.

When the beat is at full blast at 2:20, you are invited to get your feet off the floor. The energy reminds me of Yello's "On Track".

A subtle soft synth story telling melody, combined with the different and detailed layers definitely make this to one of the most interesting tracks of the album.

The last part of "Oxygene 16" is constructed in the same way as "Oxygene 3". Both prepare for the album's single. 

"Oxygene 17" could be called the "Oxygene 4" of the 2010s. All clichés are present in this rhythmic track: from the glissandi and the flangered pads to the wind/noise sound effect as well as the song's development and structure (which is nearly the same as of the anthem from 1976). The song's main melody is played by a staccato synth sound, the chorus lead sounds like the one from "Geometry of Love part 1", and the main chords, as well as the countermelody, are played with the Eminent 310.
Another nice detail of this track (as well as some of the other album tracks) are the melody lines, which seem to be more complex compared with the minimal approach to be heard on the original "Oxygene" album. Which add some more immersion.

"Oxygene 18" can be best described as an ambient / lounge / chill out transition. Again, an electric piano story line. It is a nice intermission, and although it breathes in a certain way, it is not at all in the line of the original "Oxygene". The track could easily have been part of Jarre's e-jazz experiment "Sessions 2000". It marks the transition to the second part of the album, which is slightly darker.

Then it's time for another atmosphere. Like Jarre mentioned, the album is devided into two parts. The second part starts with "Oxygene 19". The filtered strings feel like the beginning of "Second Rendez-Vous". At 0:50 a trance-like arpeggio starts in. From time to time interesting chord changes are to be heard. Around 2:00 a soft Moog-lead sounds reminds of "Oxygene 4" sets in. Subtle sequencer lines are added.
A short break at 2:50, building up the sequencer lines again, like in a trance track.
At 3:40 the melody returns. The heavy dance beat stays away, where you would expect it.
The chords fade out. Some staccato notes set in and continue into the album's final track.

A heavy, dramatic and distorted church organ reigns the first minute of "Oxygene 20". From 1:25 "Oxygene 6" enters from the depths and sweeps from left to right. It fades away one minute later. Thunder can be heard in the background.
We set up for the finale. Still part of "Oxygene 20", but this could easily have been "Oxygene 21". Low tones, joined by an emotional and heavenly pad playing chords progressions.
At 5:30 a crying synth lead sound leads in a slightly sinister mood.
The atmosphere turns darker when thunder returns. This time including rain. 
Only the final chord brightens the entire darkness. This coincides with the last remains of a camp fire smoldering while the wind blows.

The series which were once announced as "The Complete Oxygene" back in 1997, is finally concluded. I had the privilege to listen to "Oxygene 3" for the past 3,5 weeks.
Strangely enough it took me at least 2 weeks to notice the essence of this final chapter.
Every time I listened to the album, each of the tracks became better bit by bit. All seem to fell into place in the end.

In first instance I was a bit sceptic about this project.
When having a look at the liner notes in the booklet, it becomes clear that a large part is dedicated to the featured instruments. Which definitely is required to create at least a part of the "Oxygene"-feel. But there is needed more than specific instuments to make another epic music piece.

Together with the fact that the six-weeks period in which Jarre recorded the original "Oxygene", has also been adapted for "Oxygene 3". Because this was explicitely mentioned, I had my doubts in advance. My first impression was that Jarre had some weeks 'left' after the accomplishment of "Electronica". Combined with some pressure by the record company, to last-minute create or collect some masterial for the 40th anniversary of his debut. We will probably never know if this really had been the case.

Jarre covers these preconceptions in advance, by connecting the musical process with the artwork in a logical way.

The original cover artwork by Michel Granger is adapted to a 3D-model, en turned to a side-view. This represents an other vision on the original recording process.
With this underlying meaning Jarre could manouver into all possible directions.

The only remark might be that the original artwork suggests the music on the record is closer to the original than actually is the case.

When you expect the style of the original 1976 album when listening to "Oxygene 3", or its 1997 successor, there's a big chance that the album dissapoints. At least in first instance.
Until a week ago I was not conviced that "Oxygene 3" would be a valuable addition to its two classic precedors. In the meanwhile I am a lot more positive.

I can conclude that "Oxygene 3" is a beautiful and balanced album. There can be heard many similarities, and links can be made, with the first episodes of the trilogy, as well as Jarre's older works.

While due to the concept Jarre couldn't profile his current style prominently within "Electronica", he got all space and freedom to do so with "Oxygene 3". Where I first had mixed feelings, this seems to be a concept album which grows by the time. In the typical Jean Michel Jarre tradition as we actually haven't heard since "Oxygene 7-13". Which is excellent news for the real fans!

 Time will tell if "Oxygene 3" will ever be as iconic as its precedors.

SOURCES
- www.jeanmicheljarre.com;
- Jean Michel Jarre's official social media;
- "Oxygene 3" artwork. 

PHOTOS AND PICTURES:
- All used photos were taken from the social media and website of Jean Michel Jarre;
- Album artwork is copyrighted and property of Jean Michel Jarre en Sony Music. 

THANKS
Thanks a lot to Erik Guillot, Frank Bloemen and Lotte de Boer from Sony Music Nederland.



The original Dutch version of this album review is written exclusively for www.jeanmicheljarre.nl. Read it here.