Customer Reviews

Chants Magnetiques

5 star:		(13)
4 star:		(8)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

"les chants magnetiques" is a first JMJ album that was created with digital synths and fairight synthesiser. It sounds really more modern that his previous albums like "Oxygen" or "Equinoxe".
The first four parts including 17 minutes long epic part 1 and funky part 2 (which is absolute jarre classic tune) are almost flawless. Each track flows perfectly into another. The whole atmosphere of "les chants..." is much more de-humanized than "equinoxe".Some wierd samples of machines,trains,clocks...cold synths...if you will switch this album on soon you will become addicted to it...soon after about 30 minutes we have also a part called "the last rumba" (part 5).well...hm...definitly it is wierd ending. at the beginning it can annoy you.it sounds like it was played on toy synthesiser.but compared to the whole concept of "les chants" which is about reality surrounded by technology and chaos,this last part becomes deeper.like it is a sign of commercy and supermarkets.
"Les chants magnetiques" is a really good album (not including last track).definitly if you will turn it up loud and relax you will discover a whole new world of sonic delight. Well to put it in few words - definitly on of Jarre's best moments

Le Chantes Magnetiques (Magnetic Fields) was really Jarre fifth or so album, not third, since he released a couple albums before Oxygene in the early '70s (for example, Deserted Palace in 1972), and singles as far back as 1970 ("La Cage"). But since most people never heard anything he's done before Oxygene (because those albums are so hard to come by), most simply regard Oxygene as his debut. Magnetic Fields continues more or less in the same vein as Oxygene and Equinox, except now more emphases is put on rhythm. He also got himself some new digital equipment, in this case a Fairlight, which was the first digital sampler. Made in Australia, and introduced in 1979, it was basically a keyboard with a computer-type monitor and a light pen. The rest of the synthesizers on this album are actually analog (like then-state-of-the-art polyphonic, as well as his old stuff from the '70s), as the first true digital synthesizer wouldn't appear until 1983 with the infamous Yamaha DX-7 (which Jarre happily used starting with Zoolook). Aside from the Fairlight and polyphonic synths, he was still using his ARP 2600 and EMS synths, although he seemed to cut back on his Eminent (an organ-like instrument with the sound of a string synth, as heard on Oxygene). The album starts off with "Part 1". This was the very first time he ever did a side-length cut, and this piece succeeds. It's kinda strange that he'll be doing that in an era where many other acts, both electronic, and the few prog rock bands that survived to the 1980s, had pretty much given up on side-length cuts (in favor of more pop-oriented material). The classic Jarre sound is still there, with lots of emphasis on rhythm. "Part 2" gets bogged down by annoying electronic handclap sounds, while "Part 3" features some kalimba-like sounds (presumably from the Fairlight itself) while at the same time harkening back to the likes of Oxygene with the Eminent. But I always felt "Part 5 (The Last Rhumba)" was the album's real low-point. He seems to always fall flat when he tries to explore world music with his electronic style (for example the Caribbean steel-drum laced calypso influence of the first three cuts on En Attendant Cousteau aka Waiting For Cousteau). Here, of course, he's going for Latin music, Jarre style, that means entirely on electronic equipment, synthesizers and drum machines. Aside from the final cut, it's nice to see Jarre entering the new decade (the 1980s) without much problems. To me, this is his best '80s, but for those new to Jarre, start with Oxygene and Equinoxe.

"Les Chants Magnetiques", or "Magnetic Fields", as it is sometimes known, is a marvelous record, incorporating vigorous movement together with quiet spaces, and blending them seamlessly. Along with the music, there are sections of everyday sounds that remain obscure enough to tantalize your imagination (is it a shopping mall? was that a subway station?). The effect is of switching from the everyday to the musically unique, and perhaps of seeing one as an extension of the other. Note the specific use of MACHINE sounds in contrast to the more natural sounds found on some of Jarre's other works. This tends to place certain interpretations on the record's title (or vice-versa?). Modern life needs its machines and its magnetic fields just as much as Jarre himself does. But the record isn't all serious. The great mambo at the end is a light-hearted ending to an unforgettable record.

The best way to start to buy Jean Michel Jarre albums, is to start with his greatest achievements. "Oxygene" (1976), "Equinoxe" (1978), "Les Chants Magnetiques (Magnetic Fields)" (1981), and then jump to "Chronologie" (1993).

One thing that I loved about the 1970's is that artists all had the liberty to do whatever they wanted to do. Nobody was told that they had to make music that sounded like whatever was popular at the time. If you were really different, then you were given that chance to expressive your own new concept of sound art. Today, if you try to do something different, then you get immediately categorized, and probably end up in the "not likely to sell" file. Today, record companies seem to be very selective on what they are willing to invest in and record. That's probably why we have so many independent labels now. The big recording industries like Columbia, Capitol, and RCA are probably just relying on the sales of repackage hits of their former successful artists.

Anyway, Jean Michel Jarre was one of the outsiders who was entering the spacy soundscape concept similar to Tangerine Dream, Klaus Schulze, Tomita, Mike Oldfield, and even Vangelis. I love the innovators of electronic music of the seventies, and Jean Michel Jarre became my favorite when I first started buying CD's in the eighties. The new compact disc concept was perfect for re-introducing electronic music. The album of "Oxygene" was one of my first CD's that I bought in 1984. Then I bought "Equinoxe" and then this album. I've never played another cassette tape again, although I've made cassette tape recording to give to friends so I could introduce them to Jean Michel Jarre, and other electronic artists, too.


However, Jean Michel Jarre must truly have been struggling these passed 15 years. He has his own unique sound, and yet he's been trying to stay alive for more than 30 years. I can see his confusion though. His most loyal fans have a particular expectation of what music he creates. And nobody can be expected to just continue to do the same thing over and over again. "Oxygene", "Equinoxe", and "Magnetic Fields" were the albums that set the stage for what was Jarre's fabulous unique sound. But, all through his career he seemed to want to re-create himself. He did a weird soundtrack album in 1973 called "Les Granges Brulees" which only recently got released on CD a couple of years ago. I didn't like it and I'm sure Jarre himself is not too fond of it. However, in 1976, his illustrious career began with "Oxygene", which is probably still his most famous album. Anyone who has "Oxygene" probably has "Equinoxe" as well. Anything he released after this, we couldn't wait to buy. Then, he caught us all off guard in 1984 with "Zoolook" This took a little while to grow on me, but eventually, it did. It also made me a little hesitant about his next album. In 1986, he put out "Rendez-vous" and redeemed himself, and our expectations. Then, it seemed like he was beginning to get sloppy. He has released a lot of live albums and I thought that he was just killing time with all those unnecessary releases. I enjoy 1982's "The Concerts in China", and I've kept his other double live CD of 1994's "Hong Kong". But he has several other live albums that just seemed to repeat the same sound as the previous studio releases, but with half-hearted applause from the listening audience.

In 1988, his album "Revolutions" had some great short passages, and then some rather dumb child-like sound concepts. Then in 1990, his album "Waiting for Cousteau" had two fabulous instrumentals called "Calypso 2 and 3" (I didn't care for Calypso 1") and then his title track is his first truly ambient sound passage. He did a nearly 47 minute soundscape which simulated lying on the ocean floor and listening to the sounds of passing sea mammals and other underwater sound effects. I do like it, but I gotta be in the mood to listen to it. When I'm tired and I want to sit in the dark and listen to something, this track is pretty soothing and relaxing.

Then, in 1993, he puts out an album called "Chronologie". To me this is his greatest album since his first three albums. This is one of my top five favorite albums from Jean Michel Jarre. I was thinking: "Yes! The Jean Michel Jarre that we all knew, is back!" But, then, after this album, I think Jarre was beginning to get confused. He didn't quite do anything for a while. Maybe he was basking in the glow of his new latest sound achievement, and now he didn't know how to follow up on it. Two years afterwards, he releases another double live album called "Hong Kong". I like it because he incorporated a band to add more energy to his familiar music of the past and so it was nice to hear a concert that featured the music of all his best albums. I wish this concert was filmed for video. What a loss that is.

A year later, somebody tampers with Jarre's music and created a various remix album called "Jarremix". I don't think Jarre had much participation in creating these remixes other that just the rhythms of certain tracks. This is another CD that I have to be in the mood for. I seldom ever care to play this CD.

With Jarre suddenly realizing that he's tapped into a multitude of different directions, he came to a halt on his creativity. So, check this out. In 1997, he releases an album called "Oxygene 7 -13". This album sounds like he's trying to resell his most cherished album by simulating some of the sounds of the original album. It's a keeper, but I don't know why Jarre felt like he had to do this. Maybe he knew that it couldn't help but sell well because he IS Jean Michel Jarre and "Oxygene" WAS he greatest selling album. You know, Mike Oldfield did this too. In 1973, his first album "Tubular Bells" was his greatest selling album, with his career continuing a moderate downward direction of appeal, in 1992 he released an album called "Tubular Bells 2" which brought his earlier fan base back (including me). And in 1998, he even did a "Tubular Bells 3" and then he did "Tubular Bells 2003" which proves that he has lost his grip with what he wants to put out for his fan base. Anyway, I was wondering if Jarre was going to put out an album called "Equinoxe 9 - 17". He may as well, I'm sure it would sell.

I have mixed opinions about Jarre's new millenium album called "Metamorphoses". The long album side soundscapes are no more. He's starting to stick to just a bunch of short songs. And he incorporates female voices in many of the songs. It's hit and miss with these tunes. Mostly miss. Then he comes out with "Sessions 2000". This album does not sound like Jean Michel Jarre at all. This whole boring concept sounds like the sounds you could invent in your own head if you were sitting forever in a waiting room, or you were in silent solitary confinement. Then his next album "Geometry of Love" continued the same dull concept. Two bland, boorish, CD's in a row and neither one even worthy of being released in a regular jewel case.

Yes, the days of Jarre's greatest moments are all truly over. I believe it ended with "Chonologie." If you're new to hearing Jean Michel Jarre's music, start with "Oxygene", "Equinoxe", "Les Chants Magnetiques (Magnetic Fields)," and the "Chronolgie". You won't be disappointed. But it's up to you where you go from there.

This is Jarre's fourth album (the third being Les Concerts en Chine), but it's offically the third STUDIO album - hence the misconception. As others have pointed out, it's Jarre's first foray into digital synthesizer, but that doesn't make it any less a substantial piece of work. And yeah, there is the odd-ball piece of circus organ music at the end, but as any serious Jarre fan knows, he did that because he always had a thing about circus organs when he was a kid. He clearly explains that in his documentary on Oxygene Moscow. Don't rip the album because you personally didn't like or agree with his inspiration and chioce of a last track. find out the reasons WHY he did that. It's not like they guy just decided he needed filler material...

Chants Magnetiques~ Jean-Michel Jarre is a good album but it is not anywhere close to his first two albums. Oxygene and Equinox are much more consistent. Magnetic Fields has some nice tracks but the keyboard sounds are terrible compared to the first two albums. I know that this was one of the first albums to use digital keyboards and for the most part it sounds like using protoype keyboards and that is not a good thing. Jarre is here steering a bit too much in the realm of art for arts sake and it does sound a bit too avantgarde at times, but still nowhere close to the zoolook disaster that he releases some years later. On the whole a pretty decent album that lacks consistency and could have been so much better but it is alright and gets 4 stars.

Jean Michel Jarre emphasizes his wonderful creativity in Music Concrete. His beautiful electronic melodies are enhanced even more by articulate environmental sounds and voices. A definite 5 stars, minus 1 star for the corny Kimball organ music on the final track.

I had the 33rpm vinyl album of Magnetic Fields as soon as it came out, and played it often enough to wear out the grooves. The quality of the CD is top notch, and definitely holds up to the sound I remember from 1981 (I guess when you're talking about actual digital music, the whole "vinyl vs CD" is kind of a moot point.

As far as the music itself is concerned: this may be the most accessible album Jarre has ever made (aside from Chronology). If you're starting a Jarre collection, start with this one, then ease into his more experimental work.

For what it's worth... recommended tags include "New age" - Jarre has never been "new age". Electronic, yes. Synthpop, yes. New age... no.

Looks like most listeners believe that electronica musicians should always look dark and serious, looking like they are immersed in deep meditation about the mysteries of the universe (Vangelis?). So this French guy closes the album with a funny sort-of-latino joke, and suddenly the album is rubbish. Well, it's not to me. I've seen Jarre live and he looks like a guy who's having fun, so it doesn't surprise me when he plays this type of thing. In fact, Les Chants... is a very good album, in the same league as Oxygene (where by the way there are "silly latin percussion" moments too, although a little less obvious)

Les Chants Magnetiques, or Magnetic Fields to those of us in America, is a fantastically wonderful masterpiece. Jarre was arguably at one of his best times when he recorded this. The special effects, varied and very realistic, need to be heard to be appreciated. Once heard, it's impossible NOT to be a Jarre fan!! Go ahead, try. You'll see!!!