Barely six months after the release of Jean-Michel Jarre‘s first Electronica album, he was already back with the second volume. This time, of course, we start with certain expectations after the first, and it’s not a disappointment.
The second volume begins with the gloriously atmospheric The Heart of Noise (Part 1), a duet with the French electronic musician Rone, who I hadn’t heard of before, but who seems to have brought a lot of additional atmosphere to this piece. It steps naturally into Part 2, which curiously for a collaboration album features Jarre collaborating with himself.
You must have realised by now that I’m a pretty big fan of Pet Shop Boys, so it should come as little surprise that I was excited about Brick England, but it does seem a typical act of irony for the duo that what’s clearly their best song in a number of years didn’t actually make it onto their latest album, released just weeks before this one. But Brick England is just so good. If there were any justice, this would have been number one for weeks. It wasn’t even a single – actually, Jarre seems to have lost interest in this album as soon as it was released and gone onto recording Oxygène 3 instead.
Julia Holter turns up next for the sparkling These Creatures, and then the one track that I don’t understand, As One with Primal Scream. It seems clear that they didn’t bother turning up for this, so Jarre has collaborated with them in much the same way as rappers collaborate with bald annoying drummers – by taking their song and recording another one over the top. The results aren’t bad, but surely Jarre could have done better?
Some of the legends here are every bit as legendary as Jarre himself, and Gary Numan is surely one of the closest, and although I haven’t really felt he’s lived up to his status in the last couple of decades, it’s hard not to have a degree of respect for him. Here for You is good though – possibly even one of the better tracks on here.
Without the list of collaborators, it’s often hard to know exactly what’s going on, so the gentle Electrees (with Hans Zimmer) fades into the more violent Exit, largely a solo Jarre work until Edward Snowden suddenly appears out of nowhere to talk about privacy for some reason.
Next it’s the turn of Canadian singer Peaches, who confused me briefly when I wondered why I’d only vaguely heard of her, until I realised she’s basically never had a hit in the UK. What You Want is pretty good though, although perhaps not quite as good as Gisele, with the flamboyant French singer Sébastien Tellier.
Switch on Leon sees Jarre appropriately working with The Orb to express their deep love of synthesizers and electronic music, but ultimately here is little more than an interlude which continues with the pleasant and bumpy Circus, with Siriusmo.
The brilliant Yello turn up for Why This, Why That and Why, a strangely compelling track which, like Brick England, blows their own 2016 album Toy out of the water. It’s an odd one, but it’s definitely one of the best tracks on here.
Prolific experimental musician Jeff Mills is next, with The Architect, a pleasant instrumental before the brilliant Swipe to the Right, with Cyndi Lauper, definitely one of the best pop tracks that Jarre has ever been involved with. Then another French legend Christophe appears to deliver Walking the Mile, a pleasant pop song.
Right at the end are a couple of surprises – Jarre collaborates with himself again and delivers his own vocal on another great pop song, Falling Down, and then it closes with the track that started the whole project, The Heart of Noise (The Origin).
Ultimately both halves of the Electronica project are great albums, but I’d dare to suggest that The Heart of Noise is actually slightly better than The Time Machine. Needless to say, both albums are well worth a listen, and ideally a purchase, and hopefully, one day, even a follow-up.
You can still find volume 2 of Electronica at all major retailers.