Jean-Michel Jarre-Equinoxe (1978)

After his seminal "Oxigene", Jean-Michel Jarre took a step forward with his next work, "Equinoxe", a more rhythmic and dreamy album that traverses diverse soundscapes. Perhaps not as ethereal as its predecessor, it showcases his more earthly side, like an underwater journey rather than a space voyage. The music shifts throughout the album, from atmospheric soundscapes to more optimistic moments layered with rhythmic electronica, presented in such a way that it becomes extremely enjoyable and frankly addictive. However, Jean-Michel Jarre doesn't break new ground with this work; rather, he manages to articulate his synthesizer-driven, mainstream ideology with a more solid foundation. While maintaining his knack for creating captivating atmospheres and catchy synthesizer flourishes, Jarre's renewed interest in crafting well-developed electronic orchestrations allows him to deliver and portray a greater sense of order, thus placing greater emphasis on the basic melodic lines and their interplay with programmed harmonies and ethereal synthesizer layers. Jarre also takes particular care in using percussive undertones in the programmed arpeggios to enhance certain passages. The sound production also feels a bit louder, which is quite fitting for the nature of this album's repertoire. "Parts I and II" display this tendency quite openly, as do "Parts IV and VII", which are the album's most powerful moments. The exquisite motifs contained in "Parts IV and VII" achieve an almost epic stature, thanks to the constant display of energy and the subtle use of emerging reworkings, such as the strong presence of the solo string section, which definitely helps to build an orchestral feel that seems to float above the electronic textures and effects. "Part V" was the album's single, and it's no surprise, as it's quite catchy and exudes a similar vibe to "Oxygene Part IV", while "Part VI" is essentially a minimalist progression of sequenced chords à la Kraftwerk's "Radio-Activity", establishing a link between "Parts V and VII". Finally, "Part VIII" evokes occasional memories of a bohemian club in Paris (a section that would later be called "Band in the Rain"), before a grandiose reprise of the main theme from "Part V" emerges, closing an album of extraordinary beauty and another huge success for the French musician.