OXYGÈNE 3

French composer Jean-Michel Jarre hardly needs an introduction, a pioneering artist in the electronic, ambient and new-age styles, responsible for one of the biggest selling albums in those genres with the ground-breaking original `Oxygène' in 1976, a work that was cutting-edge, experimental yet also completely accessible and highly melodic. Along with several other worthwhile releases since then, including an official sequel in 1997 with `Oxygène 7-13', the approaching fortieth anniversary of the original album spurred the artist into creating a third volume, 2016's `Oxygène 3', recorded in exactly six weeks just like the defining first release was in the hope of catching the same fire and inspiration. The results are a decidedly mixed bag, balancing a continuous cross between harmless lightweight electronica that barely lifts above being a pleasant background experience of little depth with more substantial atmospheric and ambient contemplations.

While it's completely unreasonable to have expected `Oxygène 3' to be another innovative release in the manner of the first album, it's a little underwhelming how...anonymous some initial stretches of the album sounds, and often dominated by obnoxious beats that are overly loud and drown out the more interesting aspects of the music. Admittedly the album is not helped by putting its poorest piece, `Oxygène Pt 14', first, a sort of bland, faceless and clichéd electronica number, the kind that hundreds of artists working in the style are putting out these days. But some of those instantly recognisable gentle washes of serene ambient caresses that Jarre is known for slowly emerge around twitching low-key trance-like chilled beats in the more subtle `Pt 15', with some melting synth bleeds and brooding light-industrial machine groaning in the later minutes proving most surprising. Following on, bubbling liquid electronics and weeping strains flitting around moody orchestral-flavoured synth themes that attempt to break out of `Pt 16' are again sadly restrained by lazy dance beats, but the piece is thankfully redeemed by an unexpected gloomier drone in the second half.

The confident `Oxygène Pt 17' that opens the second side offers energetic bouncing beats, an upfront lead electric piano melody and a whirling fanfare-like synth theme, but only once it's out of the way do the really interesting moments of the disc appear. `Pt 18' is a delicate haunting electric piano interlude over ethereal stillness that holds a gentle warmth, `Pt 19' flirts with trance-like beats that attempt to grow in stature but never take hold over inhaling/exhaling breaths and rising/falling Seventies-flavoured keyboard veils, and glitching cut-up organ bursts punctuate the elegant eight-minute closer `Pt 20' (the absolute highlight of the set), as stormy rumbles and fuzzy trickles fuse together with sombre cinematic-styled drones that rise in stirring power and presence.

To its credit, `Oxygène 3' improves on multiple replays (definitely don't dismiss it on one initial underwhelming listen) and is at least frequently melodic, mostly remaining an undemanding and unobtrusive surface-level listen, as well as being thankfully vinyl-length too, a format that suits these kind of albums well and keeps it in line with the previous volumes. Other than appealing to long-time die-hard Jarre followers, there's perhaps not a lot here to inspire a wave of new listeners or much that will impress more casual electronic fans, but a few quietly tasteful and restrained intelligent pieces more befitting of a legend of the above-mentioned genres do emerge, and it makes for a worthwhile addition from the artist.

Three stars.

(Oh, and add a bonus point for the photo of Jarre on the back-cover with the SPECTACULAR hair!)

It's easy tp dump on Jarre like Mike Oldfield. Oldfield has a habit of doing so many Tubular Bells sequels and remakes that you get the feeling that it's just done for the money. After all, Tubular Bells was Oldfield's defining album and he has a habit of revisiting it every time his sales start to slump (Tubular Bells II, for example, came right after Heaven's Open, which wasn't exactly a seller, nor exactly a winner with his fans). Jarre is doing the same with Oxygene. There's the original from 1976. Then there's Oxygene 7-13. To be honest, the album had a mixed reaction. Many thought it was just a rehash and should not have been recorded. For me, I actually enjoy the album, and yes, there's no denying it's a rehash, although there's a bit of elements of Equinoxe and the spectre of Chronologie (his previous album) still loomed (the techno influences, for example). Then there's Oxygene: New Master Recording to demonstrate he can recreate the original some thirty years later. Now there's Oxygene 3. I wasn't expecting a whole lot. I didn't bother buying anything he did between 7-13 and this one, so I never got to hear Metamorphoses, Geometry of Love, Teo & Tea, or the two Electronica albums. But then hearing not exactly glowing reviews for those albums made me suspicious. Oxygene 3 is really Oxygene 14-20, as Oxygene 3 sounds like he was revisiting "Oxygene Part 3" from the 1976 original, which is hardly the case. Actually I'm actually quite happy with the album. I can see why it will get dismissed, but to my ears it doesn't totally rehash the original. I hear elements of the original, like the phased Eminent 310, but sonic-wise it would be very out of place on the original. "Part 17" is a more pop-oriented number, he's obviously wanting to record a song in the vein of "Oxygene Part IV" or "Equinoxe Part V". "Part 18" is an ambient piece, at first it sounds a bit on the New Age side. "Part 19" is more rhythmic, while "Part 20" has a rather obvious "Part 6" reference, but by and far, a largely ambient piece. "Part 14" to "Part 16" demonstrates that he wasn't trying to rehash the original. I actually found this album quite enjoyable, despite low expectations. Jarre pretty much had the idea of what Oxygene would sound like in 2016 with how he would approach it now, not in 1976. I won't lie and claim this is just as great as the original, even I couldn't say that for 7-13, but I actually found it quite good. It's no substitute for the original, but then, what is.

First there was the masterpiece in 1976, then the followup in 1977, and now in 2016 the latest Oxygene instalment for our ears to be caressed yet again. I love how the tracks follow on as one long 3 album epic, for on this release there are tracks 14 to 20. The noteable thing about this instalment is that it does not try to be anything more than an inspired work, with many sections reminiscent of the same sounds and effects as heard on the original. The instruments are a wall of synthesizers, Korg Polyphonic Ensemble, Metasonic, Animoog, Analogs, Cognosphere, Spire, Serum, Mellotron D4000, and a swag of drum machines to present some other worldly music to mesmirise you.

It opens with a bouncy melodic rhythm and synth echoes that clearly resonate on the percussion layers. The music is very spacey and symphonic. At about ten minutes in the synth tempo quickens and a synth pad enters with wave swells as were heard on the 1976 release. It gets rather creepy with a howling ghostly sound and a low synth drone.

The atmosphere changes with some industrial sounds as are heard on the latest Gary Numan albums such as Savage or Splinter. It is a very dark sound but JMJ brings in a melodic chord progression that is pleasing to the ear. Synth layers create a wall of sound then a percussive tempo enters around the 13 minute mark. All of the tracks merge into one another as one seamless track. The music is wondrous and this is definitely a few notches above the previous Oxygene album.

Everything gets darker and a drone howls at the 17 minute mark, like an icy planetary scape. Very low synths buzz a new chord progression over this atmosphere. I love the darkness in this section. A tempo cranks up and spreads the light rays of bright synths across the icy plains. Layer upon layer of synths continue the upbeat melody and massive waves breathe in and out as they did on the closing track of the original album.

The pace slows down for a while until the spacey swooshes melt the atmosphere 26 minutes in. Bouncy synths create a quick tempo, then a beautiful melody and techno rhythm lock in. Some chord progressions are similar to the 1976 Oxygene which is pleasing. The weird crunching chords at the 32 minute mark sounds like a cathedral organ in reverse. It gets quite creepy here, with snipping scissor sounds over a stormy weather. Then a very familiar melody is heard not unlike the closing track of the 1976 release. It closes with a slow building synth wash ascending to a high register; very majestic and atmospheric.

Jean Michel Jarre has really hit on an intriguing and imaginative soundscape with this latest Oxygene and what a way to go out if this is the last in the series. It certainly delivers some outstanding instrumentals and the synth sounds are wonderful. It is a definite treat for fans of the original and one of the best releases from this masterclass composer.