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13 of 13 people found the following review helpful:
2.0 out of 5 stars
So, so far from Jarre's 'genius' best, but naggingly addicitive., 9 May 2007
I still consider myself a true fan of Jarre's, but I truly feel he has lost his way since Metamorphoses, and while this is a partial return to form, there is still a considerable distance to cover before Jarre wins my full respect in him as an artist.
I have to say that I find it incredible how many five star ratings there have been for this album - without wanting to sound harsh, that's just blinkered fan-boy optimism in my opinion. It's far too simplistic in its overall tone to be hailed as a work of genius, especially as it is rather lacking when it comes to the quality of compostition that I've come to expect of Jarre - this was my first real gripe with the album, and it still remains the case. He really could have done so much better - as it is the album feels like it was rushed, with very little care involved.
The same was true of 'Geometry Of Love' - a work of staggeringly cold banality. But at least 'Téo & Téa' has a spark of zest about it. But that alone does not a great album make - a truly great Jarre album has heart, and there is precious little of that in evidence here. Also, much of the instrumentation he has used sounds cheap and nasty, with out-of-place samples dotted about unnecessarily. Too many of the songs sound dreadfully sparse from a compositional point of view, something I am not particularly keen on. Minimalism is not what has been employed here, rather a lack of ideas or inspiration. At times the album is just plain ordinary, and calling it 'bland' would be doing it a kindness. But on occasions it does partly redeem itself - the title track and 'Vintage' for me are the two key standouts, and though fairly sparse in structure or depth, they do have a tremendous appeal. The title track alone is at least a return to Jarre's more energetic works of old, even if the melody is somewhat lacking. The same applies to 'Vintage', probably by far the best track on the album, and while it is yet another 'dance' influenced number, it posseses an aching beauty to its melodic core that I've not felt from Jarre's music since some of Metamorphoses' more haunting melodies. That said, this album is far from comparable to 'Meta' or indeed 'Zoolook' - now THERE was evidence of a true pioneering genius; 'Zoolook' is simply a standard of quality that this album couldn't even hope to attain.
Sounding oftentimes far too cheesy and out-dated, 'Téo & Téa' is probably the most difficult of Jarre's albums I've ever had to classify, insomuchas whether I like it, love it, hate it or merely tolerate it. But despite my initial misgivings regarding its cheap and tacky sheen, there has been something about the album that keeps me listening again and again at the moment.
'Like' almost seems a strong word to employ at present, but it has something I can't really put my finger on. 'Téo & Téa' isn't an awful album, it's merely an okay album, and I really do expect something more fulfilling from Jean-Michel Jarre next time. (...)
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17 of 19 people found the following review helpful:
5.0 out of 5 stars
A Fresh Album, But Some Will Be Dissapointed..., 19 Mar 2007
Jarre is respected by so many, and recently 'studio albums' have been lacking ever since Metamorphoses (2000) if we exclude the promotional Geometry Of Love, but I have to say, this album is so refreshing.
The issue I already see is that some true Jarre fans who fell in love with his original style of music (Oxygene, Equinoxe, Rendez-Vous etc) may shy away from this album because it is in a totally different direction than his previous work, however, you can still tell it's Jarre's work once you've played through the tracks and it is certainly fitting for today's musical tastes and club culture.
Here's a brief synopsis of each track, and my personal ratings (1-5 stars);
FRESH NEWS - An interesting start, with Jarre's patented use of lead sounds and pitch-bending/modulation. It's not ground breaking by any standard, but you can't help but listen! 'Poppy' & 'fresh'! [****]
TEO & TEA - A perfect club track which gets you moving. Great lead and synth sounds, simple and effective however slightly short. The narration is a new idea for Jarre but may become annoying over time. [*****]
BEAUTIFUL AGONY - I wasn't overly impressed when I first heard it, and regardless that I have nothing against 'sensual' sound effects I still find it pointless for Jarre, however, I can't get the song out of my head most of the time! It's a fairly 'cheap and novice' song, but for a reason I think - minimalistic, and it works. [****]
TOUCH TO REMEMBER - Clever. Nice string lines, good synths and with a cryptic but interesting story of love and togetherness via a speech synthesiser. The use of reverse strings to is clever and makes for an illuminating effect. The track is slightly repeatative in a way, could have evolved. Good track overall. [****]
OK, DO IT FAST - Simple again but compelling - yet again a great use of sounds both hard and soft. Would make an interesting soundtrack/background part of a movie or a game. It's not the best track on the album but it's one you'd always come back too! [*****]
PARTNERS IN CRIME 1 - Legendary. When you hear it you'd be surprised it's Jarre's work. It's quite Bond-like, like the name suggests. Brilliant beat, interesting melodic lines and has so much potential. Along with Part 2, most probably the best of the album (even though it's hard to ignore Teo & Tea) [*****]
PARTNERS IN CRIME 2 - Also legendary. You wonder if it's starting to really repeat Part 1 at the start, but then has a brilliant flashback style effect and gets straight on with an amazing breakbeat and new perspective of the song, adding parts of Part 1 creativly later on. Part 1 and 2 are excellent. [*****]
CHATTERBOX - It's difficult to decide whether you like Chatterbox or not. It's one of those tracks you either hate because you simply don't get it or you love for the quirkiness of it! I find the abstract latin line interesting, but it's a track that is easilly skipped, it doesn't really have much to offer - but most Jarre fans will know that a track like this is typical for Jarre on a concept album (take Zoolook for example). [**]
IN THE MOOD FOR YOU - Nice. It would suit very well on one of countless numbers of 'Chill-out' CDs. Warm sounds, flows very well, but after all the preceeding tracks, it does slightly slow the album down. [****]
GOSSIP - I actually love this track, solely for it's ambience. Clever use of repeated vocals to make a stream, great percussion effect. Really reminds me of bands like Autecre/Aphex Twin. This show's Jarres dark mysterious side, and even though it doesn't really fit the album, it's an interesting side-piece. Melody is simple and is a hook. Could have been longer, but would have needed to get more interesting. Because of it's length, I can't rate it a 5. [****]
VINTAGE - A track perfect for the UK's club culture. I can invision it on a film like Human Traffic, but it's very mainstream. It does seem like it's been written for one purpose - simply to be played in a club. Fair enough, but then that lacks talent if it's a true statement. It's not a bad song overall, I don't like the choice of sounds and a sound used in Teo & Tea is repeated here which I hate. There is no reason for it. [**]
MELANCHOLIC RODEO - If you heard it not knowing this album was coming out, you would know it was a Jarre track. Getting one negative out the way it is slightly boring because of it's repeatativeness and no direction except 'forward to the end', however, it uses a very clever lead-effect that sounds like guitar harmonics are in there and it uses Jarre's trademark use of manipulating sounds. Similar to Geometry Of Love Part 1, but without the evolution. It's a good Jarre track overall. [****]
TEO & TEA (4PM) - A nice remix and a welcome version of Teo And Tea as it's longer (perfect for the club scene) and background music along with other club/dance tunes, but it's nothing special. The addidion of a snare with the chorus section is not necessary, and kind of moves away from the real kick that the original has, but it's a good way to finish the album. [****]
Overall, I think Jarre has made a perfect move with this album. It's dance/club/electronica but unique, it's perfect for the club market but good anywhere else and it's Jarre but not quite Jarre. It makes you wonder but listen again and again. It could take a little getting used to, and it's not an album you could listen the whole way through with headphones day in day out because it can be repeatative, but overall it's another clever and talented step in Jarre's work. As I mentioned before, I can see a selection of hardcore Jarre fans might be dissapointed with this change, some non-Jarre fans will now start to look, but remember, every artist makes changes and considering Jarre has produced albums now over 30 years, it fits nicely with the times!
Thanks for reading...
ANDIE B
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
Not so much of a departure, 29 Mar 2007
Those of you expecting an album like so-called "classic" Jarre should probably move along, because this most certainly is not it. It is more, however, like 2003's Geometry of Love or the more experimental Sessions 2000. Whether this is a good or bad thing is very much open to interpretation. I happen to (mostly) like it so far.
It certainly isn't an unalloyed triumph, but it's no disaster either. Musos will complain that his use of instrumentation is no longer as imaginative as it was; maybe this is true but perhaps Jarre's own needs have moved on, with contemporary kit giving him the palette he wants.
The major complaints I've seen about this album are that it is too derivative and too dancy. This is partly true, it does have a much more aggressively dancy, clubby feel than other work of his, not that it will make any difference in the UK, which now is not a major market for him any longer really (this album will struggle to do Top 20 business here).
Tracks like Teo & Tea itself and Chatterbox remind me a little of Zoolook-era tracks like Zoolookologie (one of my favourite JMJ pieces) and the 'Moon Machine' B-side. Melancholic Rodeo has vague tinges of things from as far back as Deserted Palace. Even as far back as Equinoxe, dance was firmly at the forefront of JMJ's thinking so this is not as much of a jump as some might think, it is just the environment has changed.
If someone else had released this, how would it have been received I wonder?
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