The Weekend Australian - Review - - Music -

WITH his il­lu­mi­nated cir­cu­lar key­board, laser harp and epic son et lu­miere spec­tac­u­lars, it’s easy to over­look how in­flu­en­tial France’s most suc­cess­ful mu­si­cian has been on elec­tronic mu­sic since Oxy­gene , his first hit in 1977. At least his flam­boy­ance is more en­ter­tain­ing than the present crop of bar­be­cue boys star­ing into their lap­tops on stage, oc­ca­sion­ally twid­dling a knob like check­ing chops on the grill. Jarre’s first stu­dio album in six years is not so much lead­ing the pack as sur­vey­ing the form, no­tice­ably the house mu­sic of about eight years ago, though the per­co­lat­ing mo­men­tum of Teo & Tea ranges across a variety of styles and rhythms, some of them thumpers. It’s up- vibe and, yes, sta­dium friendly, even when be­ing re­flec­tive: ev­ery­thing with pur­pose, heaps of cleanly ar­tic­u­lated de­tail, smooth saw­tooth waves and mas­ter­ful fil­ter­ing. The Mor­ri­cone gui­tars on Part­ners in Crime 2 and some in­sis­tent or­ches­tral strings on Touch to Re­mem­ber add a filmic touch. Main­stream, a bit retro, but it grows on you. Per­haps that’s why Jarre has en­dured.

Alis­tair Jones Teo & Tea Jean Michel Jarre Aero/ Warner

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