One record at a time: 394. Röyksopp - Profound Mysteries III

The final album in the "Profound Mysteries" trilogy welcomes back all the same vocalists as previous entries and is augmented by a couple of instrumentals. 

To my ears, much of this album seems to take inspiration from the work of other artists. The introduction to opening track "So Ambiguous" sounds like it was beamed back from the seventies and the collaboration with Alison Goldfrapp called "The Night" leans heavily into Kraftwerk beats. The faux R&B vibes of "Just Wanted To Know" are fun and "Like an Old Dog" reminds me of Laurie Anderson (but with melody).

Where the album succeeds best is when the band revert to their own distinctive sound and "Me&Youphoria" is more akin to what I expect. The 'hands in the air' excitement of "Feel It" is hard to resist and the ten minute ride of "Speed King" proves to be a real joy. The only dull spots are "Lights Out" with Pixx and the disappointing "The Next Day" in which Jamie Irrepressible warbles away to himself for four minutes. 

All in all there is more to like on this record than the second one, but I still think there is a case to be made for creating two playlists to summarise this box set. Personally I would like to hear a 'bangers' top ten and a downtempo collection that cuts out some of the more maudlin moments. But as a whole, this project should be considered a great success and I look forward to more Röyksopp albums sorry... 'projects'. 4/5

One record at a time: 393. Röyksopp - Profound Mysteries II

Part II of the "Profound Mysteries" album series is the same mix of bangers, downtempo grooves and ambient soundscapes we found on the first instalment.

Once again there are a number of collaborations with vocalists as Astrid S, Pixx and Susanne Sundfør all return for another trip around the Röyksopp universe. After a brief pause Jamie Irrepressible is also back to sing on the track "Sorry".

For me the highlight of the album is "Unity" which is a track that contains a break beat and a thumping house piano - but this is no dumb four-on-the-floor behemoth. Karen Harding adds a wonderful vocal that is complimented by a great mix from Svein and Torbjørn.

Fan favourite "Oh, Lover" with Susanne Sundfør is quintessential Röyksopp and harks back to the sound of previous albums (and the criminally ignored single "Never Ever"). Less successful is the dreary ballad "Tell Him" which is uninteresting and predictable. Of the four instrumental tracks on the album, "Remembering the Departed" and "Some Resolve" are a rather nondescript but "Denimclad Baboons" and "Control" prove to be very entertaining.

I find it interesting that the band have included tracks that range from storming dance numbers to ambient washes; it's almost like they are trying to structure a cohesive album rather than a 'conceptual project'. For me this record is slightly less successful than Part I as its quieter moments aren't as engaging. Side D is a particularly dull affair in which the album just seems to limp along until its demise - but the more uptempo numbers here justify a decent score. 3/5

One record at a time: 392. Röyksopp - Profound Mysteries I

Röyksopp have chosen to maintain the pretence that they don't release conventional albums by calling "Profound Mysteries" a 'conceptual project'. 

In reality, this is a series of three albums that saw staggered release dates before finally being collected together in a box set. As I didn't buy this set until it was included in a Black Friday deal in 2024, mine is from the second pressing. Today I will be looking at Part I of the set which is a ten track album split across two discs.

By the time "Profound Mysteries" was released, eight years had passed since their last album. However, the first track "(Nothing But) Ashes..." has all of the usual Röyksopp motifs and characteristics that provide us with reassurance they have retained their unique sound. 

Things really kick off with the first collaboration on this album titled, "Impossible". Alison Goldfrapp sounds totally at home with the grinding analogue synths and lush pads as the song builds to a quite remarkable crescendo. This song is also included on Alison's superb album "The Love Invention" but it was edited down to half its length and the longer version heard here is much more satisfying. This song is utterly brilliant, and for me, it comes close to some sort of electronic music perfection.

Other successful collaborations are with vocalists Beki Mari on "This Time, This Place" and Astrid S on "Breathe". Both of these songs are spine-tingling electronic confections that can satisfy the dance floor whilst simultaneously engaging your brain. Songs like "How the Flowers Grow" and the instrumental "There, Beyond the Trees" are more reflective and offer slightly downtempo grooves to create breathing space between the more frenetic tracks. 4/5

One record at a time: 381. Project D - The Synthesizer Album

You may notice that the artist who created these recordings isn't credited prominently. This is a deliberate tactic designed to increase the likelihood of us mistaking this for a compilation of original recordings rather the 'sound-a-like' cover versions they actually are.

Albums of this type had existed since the seventies with the "Top of the Pops" series being one of the most notorious examples. By the nineties, a shift in technology meant that people could use synthesizers and high capacity sequencers to make a myriad of albums with titles like "Synthesizer Hits", "Synthesizer Greatest" or "The Most Spectacular Synthesizer". As these albums were sold quite cheaply they were rather popular - especially with 'financially challenged' teenagers such as myself. 

The first sound-a-like album by Project D was imaginatively titled "The Synthesizer Album" and was released in 1990. A second volume appeared later in the same year (with the shocking title "Synthesizer 2") and I bought both on compact disc at the time of release. Teenage me definitely got some enjoyment out of these albums and some tracks were so good they almost sounded like remixes of the original. Yet tracks like "Balero", "Winter Games" and "Tubular Bells" felt like very strange and disappointing choices to represent 'synthesizer music'. 

The next I heard of Project D was when "Synthesizer - The Ultimate Sound Experience" was being marketed and sold directly to customers via a TV campaign. This four disc box set featured the same content as the first two "Synthesizer" albums but also included two additional discs. To my mind it is the second two discs where things go wrong here. I mean badly wrong. No...worse than that.

Alannah Myles country song "Black Velevet" is pretty awful in its original form, but played on synth presets it is in a whole new world of terrible. Other abominations include Elton John's "Sacrifice", "Kingston Town" by UB40 and the "Star Wars" theme tune all being mercilessly butchered at the alter of MIDI file mediocrity. I could go on but the horrors are too much to bear. I think it is sufficient to say some of the song choices on these last two records are frankly bizarre.

I am not certain what instruments were used to create these monstrosities but I can definitely hear a Roland D50 and possibly some Ensoniq SQ80 and a Korg T3. I hope group members Chris Cozens and Nick Magnus made some good money from this venture as they truly sold their soul to the devil in creating it. 

If you feel compelled to subject yourself to this music then listen to the first album and please skip the rest. I think I only own the box set out of curiosity and looking at it now I sense I will be making a charity shop donation very soon. 1/5

One record at a time: 374. Pet Shop Boys - Smash

When vinyl enthusiasts went looking for a Pet Shop Boys compilation, their attention invariably fell on the album "Discography". Not only was this release  relatively easy to find, but it also gathered together the singles from the band's commercial peak.

However, by 2023 this LP had been out of print for over thirty years and second hand prices were on the rise. Having noted this demand, Warner Music approached Neil and Chris for permission to repress "Discography" and fill a gap in the market.

Rather than grant this rather simple request, the boys elected to release a brand new box set called "Smash" instead. I'm not really sure a comprehensive six disc collection that retails for over £100 is what either the record company or the music buying public wanted; but it's what we got. How very Pet Shop Boys.

Here we have the limited edition version pressed on white vinyl and the standard black vinyl edition that were both released in 2023. The records are pressed by Optimal media and sound great, but the paper stock used for the inner sleeves feels very cheap and unsatisfactory. The less said about the graphic design the better, and the title is so bad it is laughable; but thankfully the music is the main attraction here.

The content of the first three discs in this set largely mirror that of "PopArt", but the correct mixes are used this time around. As you might expect, the remaining records collect together all of the singles Pet Shop Boys released between 2004 and 2020. Highlights for me are "Memory of the Future", "Vocal" and "Did you see me coming?" but there's a lot of other great material on here too. My disappointment is chiefly reserved for "Numb", "Leaving" and the single that should never have been: "I don't wanna".

Normally I wouldn't sit and listen all the way through a six disc box set that contains fifty five tracks, but I can make an exception for the Pet Shop Boys. If you are less inclined to persevere with such a marathon it is fairly easy to dip in and out of this compilation as the tracks are presented chronologically. As a comprehensive history of the Pet Shop Boys singles, "Smash" can't be beaten. Those looking for a more concise introduction would be better served by simply paying for a second hand copy of "Discography" and pocketing the difference. 4/5

One record at a time: 371. Pet Shop Boys - Electric

There's an apocryphal tale that Neil Tennant read a critical review of the album "Elysium" on iTunes and resolved to make the next Pet Shop Boys record "more banging with lasers".  Whilst this story isn't entirely true, there is no doubt that 2013's "Electric" is squarely aimed at the dance-floor and is the polar opposite to its predecessor.

On the day the standard LP was released a special edition "Electric Box" was announced that would contain five 12" singles in a florescent acrylic box and was limited to 350 copies. This set cost a ridiculous £500 and would be released on 7th October 2013. However, much like the "Very" box set, the finished product was much delayed and didn't turn up until the middle of December. As you might imagine, I will be playing one of the two standard double vinyl sets I own for this review and keeping the box set out of harm's way. 

I was quite gushing about this album when it was released as it seemed to banish the doldrums and allowed the Pet Shop Boys to reclaim their crown as the kings of dance driven synth-pop. Yet, my enthusiasm is somewhat tempered today as I feel "Electric" set the boys off on a road that ended in something of a cul-de-sac. 

Things start promisingly enough with the track "Axis" that was used as a teaser single. Aside from some occasional hoarse vocals repeating the phrase "Turn it on" this is an instrumental piece that doesn't conform to a conventional pop song template. At first, the lack of structure in these songs worried me as I thought it might detract from the credibility of the album. However, I reconciled this with the thought that this isn't a traditional pop album and nobody questions the structure of  "Blue Monday", "Numbers"  or "Moments in Love". 

The single "Love Is A Bourgeois Construct" is a little more traditional in approach but I am not a fan of the Henry Purcell motif or the monotonous verses. Another single "Thursday" seemed quite contemporary and even features a rap by Example. Stuart Price is a good producer and I enjoyed his work as Les Rythmes Digitales long before he became associated with the boys, but sometimes it sounds like he is being held back a little. "Vocal" is the final track on the album as is one of my favourite songs by the Pet Shop Boys. Yet, when I hear it I have a nagging feeling that there is something missing. Would it have been better with a TB-303 style riff and some TR-909 hit hats? It certainly would have had a sound closer to that of the rave scene it references and I would have liked that.

I think if you had asked me to score this album back in 2013, I would have given it full marks. Today I am forced to consider the fact that it sounds a little dated and some of the tracks haven't proved to have enduring appeal. I've disappointed myself here. 3.5/5 Happy New Year.

One record at a time: 369. Pet Shop Boys (Tennant/Lowe) - The Most Incredible Thing

"The Most Incredible Thing" is the score for the 2011 ballet of the same name and is credited to Tennant/Lowe rather than Pet Shop Boys. Here I am listening to the limited edition, six LP box set that was hand numbered and signed by Neil and Chris.

I'll be clear from the start that I bought this ridiculously expensive box set as a collector and not because I love the album it contains. Whilst this music is largely arranged for orchestra, synth-pop comes to the fore on quite a few tracks and it is reminiscent of their score for the silent film Battleship Potemkin (not available on vinyl and not seen here as a consequence).

The staccato rhythms of "The Grind" are fairly electronic in nature and it even incorporates a section of a Pet Shop Boys song called "Baby". "The Challenge" is a fun track and it reminds me of something you might have heard on a programme like Jason King in the seventies. Things become centred squarely on the dance floor during "Physical Jerks" and the introduction to "The Competition", but there are passages of melody that sound like they are straight out of a sixties musical (I guess it is a matter of taste as to whether this is a good or a bad thing). By the time I get to the end of the second disc I feel like taking a break, but despite my fatigue I press on and the final act proves to be mercifully short.

The last three discs of this box set contain the demos of the same material and I won't even pretend I listened to them. I have heard the contents of these discs from digital files and, to say they were realised without an orchestra, they sound quite accomplished; but I would never chose to listen to them for pleasure. 1/5

One record at a time: 368. Pet Shop Boys - Yes

I love "Yes" for a number of reasons. Firstly its release coincided with one of the happiest times in my life and hearing it brings back lots of great memories. The fact that this album was an unashamed celebration of pop and a return to form for the boys also adds to its appeal.

When the album was released in March 2009 a special box set containing eleven 12" singles was announced. There were to be only 300 copies with a promised delivery date of April 25th. I ordered it immediately.

When the delivery date came and went without a word I wrote a frustrated post on this blog and pondered when it might actually show up. As it turned out I didn't have to wait too long as my post was made on 25th of May and the box set was finally dispatched on 27th. You can read my verdict on it here. I also own two copies of the standard vinyl (which I seem to think was initially limited to 1000 copies) and the more recent remastered version from 2017.

The album begins with the lead single "Love etc." which was co-written by Pet Shop Boys with production team Xenomania. They chose Brian Higgins and Xenomania as they admired their work with Girls Aloud - which is as clear an indication of their intent to make a pop album as you can possibly get.

The first time I heard "Did You See Me Coming?" I was very impressed by it and the bassline in particular caught my attention. In fact, rich basslines are a consistent feature of this album with songs like "The Way It Used To Be" and "All Over The World" being especially impressive. Other favourites of mine are "Pandemonium" and "More Than A Dream" which are great pop songs with lush production. There are no duff tracks on this record but I have never been a big fan of "Building a Wall" or closing number "Legacy" and it is no coincidence that these are the least upbeat and positive songs on the album.

There's no doubt this album was a triumphant return and in my mind it was the final piece of the puzzle that qualified them for national treasure status and a Brit award for outstanding contribution to music. 4/5

One record at a time: 344. Orchestral Manoeuvres in the Dark - The Punishment of Luxury

Here we have the box set of "The Punishment of Luxury" that featured an exclusive transparent red LP alongside a couple of CDs and a DVD. 

By the time this album came around in 2017 it felt like OMD had settled into a natural cadence of releasing and touring new material every 3-4 years. Since reforming in 2006 the band had also begun to move to an increasingly electronic sound and this record moves us a step further down that road.

If I had to guess I would say that Paul and Andy's favourite Kraftwerk album is "The Man Machine" as this record borrows from every motif, riff and beat on that seminal masterpiece. In fact, you could argue that OMD were carrying the flag for the Düsseldorf electro pioneers at this point as they were the only artists left producing pure electro-pop with commercial appeal.

The title track that opens proceedings is an attack on the vacuous pop culture and social media nonsense some people seem to fill their lives with. The second song "Isotype" is quite different lyrically as it is an ode to the International System of Typographic Picture Education, but both tracks are firmly rooted in the same electronic soil. The magnificent "What Have We Done" is less charged and makes for a nice change of pace, but you can still hear the electronic sensibilities straining to burst out. Honourable mentions must also go to "The View From Here" and the marvellous "One More Time" which are great songs with clear and precise production.

Aside from these highlights there is a series of shorter and largely instrumental tracks that tackle subjects such as art history, machine guns and industrialisation. There's an unexpected expletive amongst the synths of  "Kiss Kiss Bang Bang" and only "Robot Man" stands out for all the wrong reasons.

This is a record of almost unadulterated synth heaven where only the occasional blast of bass guitar is allowed to peek through the digital sheen. Whilst this sleek version of Kraftwerk does sound very good, it is a step away from the traditional sound of OMD. As much as I love the electronic nature of this music, it might have benefited from being dialled back a tiny bit to reveal some of the grit below the surface.  4/5

One record at a time: 342. Orchestral Manoeuvres in the Dark - History of Modern

What better way to celebrate three years of working through my record collection than with an album titled "History of Modern"?

Andy and Paul reformed Orchestral Manoeuvres in the Dark in 2006 and released this album four years later. Originally I bought the box set that included a double LP with a unique sleeve, but more recently I have purchased the 2023 reissue on white vinyl too.

The tracks included here are a mixture of previously discarded material and some new songs of varying merit. Of the older material "Sister Mary Says" is purported to have been composed in 1981 and there is a tacit suggestion it shares some of its DNA with "Enola Gay". The song sounds nothing like its illustrious predecessor and isn't really close to the quality the band used to generate; but it is a fair effort nonetheless. The single "If You Want It" is a leftover from Andy's work with Atomic Kitten and is another well executed if uninspiring song. The only tracks that really don't deserve to be on the record are "Sometimes" and the terrible "Pulse" which drag the overall quality of the record down quite steeply.

My favourite moments are "The Right Side?" and "Green" which sound like they had a much greater input from Paul Humphreys. There's a fantastic love song to four German middle aged men in the form of "RFWK" and the title track has an infectious melody. When I went to see them play on the tour that accompanied this record, it felt like there was a new energy in the air. This record is far from perfect, but it did help solidify relationships in the band and gave sufficient encouragement for them to continue to expand their oeuvre. 3/5

One record at a time: 292. Gary Numan - Living Ornaments '79 and '80

"Living Ornaments" '79 and '80 were two live albums released by Gary Numan in 1980. Whilst both records could be bought individually, they were also released in a 'limited edition' box set that collected both discs together. As you can see I own the box set and an individual copy of  the '79 album. I think this is because I initially assumed the box set would be hard to find and decided to collect the albums singularly. However, I soon stumbled across a good condition box set at a reasonable price and the single '79 record I had purchased became redundant. 

The '79 disc kicks off with the impressive instrumental "Airlane" before Numan takes the stage for a rather brisk version of the monster single "Cars". Numan dismissively introduces "We Are So Fragile" as "an old b-side" before the band once again light the blue touch paper and go off like a rocket. These recording were made in the days before click tracks and the band must have relied solely on the rhythm section to dictate the speed of the performance. Drummer Ced Sharpley somehow manages to faithfully recreate the distinctive beat of "Films" and the band follow his lead with a faultless performance. There's an older Tubeway Army song "Something's In The House" which reminds us that Numan had already released three albums by the time he embarked on his sell out tour of the nation.

The slightly ponderous "This Wreckage" opens the second disc but it receives a rapturous reception from the crowd. We rattle through a slew of solo and Tubeway Army material before we reach the fantastic "Remind Me To Smile" which sounds really good once it gets going. The '80 disc fills in the holes by including "Are Friends Electric?" and other high profile material that was omitted from the first album. Whilst the prospect of sitting and listening to both albums back to back feels a little like overkill, they feature some good performances that are easily digestible when consumed singularly. 3/5

A forgotten gem

Five years ago I wrote a post about the remix 12" of "Inside Out" by Electribe 101. In my missive I complained this record seemed to have been miss-pressed as it had glitches, pops and all manner of background noise that ruined one of the best records the band released.

So imagine my excitement when lead singer Billie Ray-Martin announced the release of a four CD box set of parent album "Electribal Memories" that included the "MCM Mix" of Inside Out - my prayers had finally been answered. 

I did actually succeed in creating my own recording of the track with all of the artefacts edited out, but it took many weeks and I was never one hundred percent happy with it - but in the absence of the mix ever being released digitally, it was the best I was going to get.

So now I own a pristine digital recording of the mix and I only had to wait thirty four years. Patience is a virtue.

One record at a time: 274. Nine Inch Nails - Pretty Hate Machine

One day in November 1991, as I stood in the queue for the till at HMV, the guy in front of me said to his friend, "I really like that song at number 35 called "Sin'". It's really electronic". Upon hearing this I decided to leave the queue to investigate further. I'd never heard of Nine Inch Nails, but the sleek black digipak and gloss printed artwork of the single intrigued me. So, "Sin" came home with me and I've been a fan of Trent Reznor ever since.

Here I am going to be playing the 2010 remastered double vinyl of Trent's debut album which includes the b-side "Get Down Make Love". I also own the Halo I-IV box set from 2015 which includes a single disc version of the original master of the album. 

Having only heard one track when I bought the CD back in 1991, I wasn't sure what to expect from the rest of the album. However, opening track "Head Like a Hole" soon allayed any fears that "Sin" might have just been a flash in the pan. There's something about the lyrics on this song that have always fascinated me and the couplet "Bow down before the one you serve, You're going to get what you deserve" always appealed to my teenage angst. I can still remember finding the 10" and 12" singles of this in Our Price and being captivated by the artwork and different remixes they contained.

After the guitars and aggressive noise of the first track, we segue into the sparse metallic rhythms of "Terrible Lie". As the song progresses we hear various synth patches and samples that are cleverly woven around Trent's suitably angry vocal by producer Flood. The next song is actually a remix called "Down In It (Skin)" that builds on Trent's much sparser demo that was originally scheduled to be included on the album. Whilst "Sanctified" is probably the most dated track on this record it is such an atmospheric composition that it is able to transcend its slightly anachronistic execution. 

Things slow down for "Something I Can Never Have" which is a brooding piece driven by piano and Trent's amazing lyrics. My only slight gripe with this song is that there isn't quite enough going on to justify a six minute run time, but it is still an amazing piece of work. There's a slightly mischievous air to "Kinda I Want To" but it remains unclear what the protagonist wants to do or to whom. I read recently that Trent remains unsatisfied with this song and it is one of his least favourite creations. Next up is the excellent "Sin" but the version on the album is a better mix than the Adrian Sherwood version on the CD single.

The transitions of "That's What I Get" don't work for me and the song sounds a bit of a mess until we hit the raucous, and repetitive coda. "The Only Time" is probably my least favourite track on the album but it does feature the immortal line: "the devil wants to f**k me in the back of his car" that used to cause so much amusement to my teenage friends. One of my favourite tracks is the closing song "Ringfinger". Things initially sound almost like a synth-pop anthem (all be it a rather sinister one) before the twisted chorus turns things on their head. After about four minutes there's an injection of pace that ensures the main album goes out on a high of rattling synths, distorted guitars and samples. The 2010 version then plays Trent's cover version of "Get Down Make Love" that was originally the b-side to "Sin". Personally I'm not totally enamoured with this track and regard it as superfluous to the main album. 4/5

One record at a time: 231. La Roux - Trouble In Paradise

As I enjoyed La Roux's eponymously titled debut album, I decided to pre-order the box set of the much delayed follow up "Trouble In Paradise". As well as the vinyl there was a signed CD, a code to redeem mp3 files and a T shirt. The original specification for the box set included nine (yes, nine) matchboxes, but unsurprisingly these were swapped out for a signed and numbered lithographic print instead. The box has unique artwork and is individually numbered. I was really looking forward to receiving it.

However, when the box set arrived in July 2014 I was left rather disappointed. It seems trouble doesn't only occur in paradise; it happens on vinyl too. There's no other way of saying it, but, this album isn't very good. 

I think it is fair to say that the success of the first album brought considerable pressure on band members Ellie and Ben. This pressure culminated in a split that meant La Roux was a solo project by the time this record was released. The break up of the group was in part due to Ellie's desire to introduce acoustic instruments and lean towards a more funk and disco influenced sound for the second outing. Unfortunately this change of direction didn't suit Ben and it seemed to leave many fans behind too. I went to a concert on the tour that supported this album and the contrast between the old material and the new was quite stark when they were laid side by side.

Everything on this album could be described as "mid". It's definitely not terrible, but equally it has no spark, no hook and no magic. "Uptight Downtown" has some nice touches and "Kiss and Not Tell" is close to the sound of the first album, but songs like "Tropical Chancer" are too repetitive and "Sexotheque" is just nonsense. I knew not to expect a repeat of the first album, but I don't think I was prepared for something as troubled as this. 2/5

One record at a time: 211. Jean Michel Jarre - Planet Jarre

I knew I had a lot of Jean Michel Jarre records, but I'm beginning to think I might never reach the end of them. This feeling is caused, in part, by the fact that I' don't enjoy his more recent material. I've posted before about the inexorable decline in the quality of Jarre's output and with every step away from his eighties pomp, things move further away from the things I enjoy. 

Happily this "50 years of music" compilation box set brings together the cream of Jarre's output and might serve to remind me why I was such a fan in the first place. 

This is a four disc set where the tracks are divided into "Soundscapes", "Themes", "Sequences" and "Explorations and Early Works". 

"Soundscapes" presents a largely predictable selection of nine of Jarre's more minimalist tracks from albums such as "Waiting For Cousteau", "Equinoxe" and two selections from "Oxygene 3". There are a few edits and tweaks but this material is largely faithful to that heard on the parent albums.

To my eternal surprise the "Themes" disc doesn't start with "Oxygene Part IV" but rather goes for the second part of "Industrial Revolution". Whilst all of the familiar tracks are contained on this disc, there are some surprises as "Zoolookologie", "Magnetic Fields 2", "Rendez-Vous 4" and "Chronology 4" are all presented as new remixed versions. The mastering on the beginning of "Equinoxe Part IV" is very strange to my ears as it is over compressed and sounds like it is in mono, but this seems to resolve when the main theme begins.

"Sequences" kicks off with a new track called "Coachella Opening" that would go on to be included on the "Equinoxe Infinity" album later in the same year as "The Opening (Movement 8)". The fantastic "Arpegiator", new track "Hebalizer" and "Equinoxe Part VII" are the standout tracks on this disc with "Oxygene 8" also given a new mix for the occasion. Less satisfactory is the Edward Snowden collaboration "Exit" and the mix of "Revolution, Revolutions" is pretty dire compared to the original album mix from 1988.

Collectors and Jarre fanatics would probably have been most pleased to see a "Explorations and Early Works" disc that saw the first release of "AOR Bleu" and a "demo" of "Music For Supermarkets Part 1". The remainder of the disc was taken up with material already released on the "Rarities" compilation (which probably explains why the "Essentials and Rarities" collection hasn't been repressed).4/5

One record at a time: 210. Jean MIchel Jarre - Oxygene 3

Jarre was inspired to revisit "Oxygene" in 1997 by Mike Oldfield's "Tubular Bells II". Just like Oldfield, Jarre went back for a third bite of the cherry and ended up creating an album that was so far removed from the original it doesn't live up to its name.

Unlike its predecessors, this album isn't driven by melodies or themes; it is largely based on a series of grooves. In itself this approach isn't a bad idea, but the title of the album sets a different expectation that the record can never fulfil.

Opening track "Part 14" is a good piece of electronic music, but doesn't really catch the ear in any meaningful way. The iconic Eminent Strings introduce "Part 15" but even the resurrected Korg Mini Pops 7 sounds a bit flat and lifeless. "Part 16" is more of the same with a sequenced bassline and a four-on-the-floor kick drum, but there's not much else here in terms of ideas.

My favourite piece is "Part 17" as it is the first time we hear a lead line and a tune. "Part 18" has a dreamlike quality but isn't given enough time to expand and breathe. So many tracks on this album are overly long and it seems a real shame that an interesting idea isn't afforded the same space. "Part 19" is a bit like a trance song without a rhythm track and doesn't really hit the mark. The finale is "Part 20" which tries to be epic with its building chord progression and eight minute runtime, but in truth the time would have been better spent on "Part 18".  As an album of electronic music, this is a good effort, but ultimately it can't live up to its name. 2.5/5

One record at a time: 208. Jean Michel Jarre - Electronica 1 - The Time Machine

I posted about this album when it was released in 2015 so I have rehashed the post rather than reinvent the wheel.

For this collaboration album, Jarre stated he chose artists that have influenced him and who have helped shape the face of electronic music. On examining the list of collaborators my first thought was "Vangelis turned him down", closely followed by "I bet he didn't even bother asking Kraftwerk".

Only a handful of the tracks actually succeed in conveying the styles of the contributing parties and remain entertaining. "A Question of Blood" sounds like classic Carpenter and you can spot the aural DNA of Vince Clarke all over "Automatic". "Zero Gravity" is exactly what you would expect of a Jarre / Tangerine Dream collaboration and "Stardust" with Armin van Buuren is an undoubted success. For me the standout track has to be "If...!" with Little Boots; a truly sublime slice of pop electronica.

Less successful tracks are those recorded with people whose links with electronic music are more tenuous (or dare I even say none existent).  "Train and the River", a collaboration with the pianist Lang Lang is dull beyond belief. I can't even begin to describe how bad Pete Townshend's vocals are on the track "Travelator Part 2". Everything else on the album is just middling. 3/5

One record at a time: 205. Jean Michel Jarre - Oxygene 7-13

In 1997 Jarre was inspired to create a follow up to his original masterwork by Mike Oldfield's successful "Tubular Bells II" project. Much like Oldfield, Jarre chose to rework some of the leitmotifs from the original album and give them a more contemporary sheen. Even Michel Granger's sleeve painting gets an update.

The original pressing of "Oxygene 7-13" is pretty rare so I will have to make do with the version included in the "Oxygene Trilogy" box set from 2016. Unlike the original, this vinyl is transparent and has the new title of "Oxygene 2".

For the first time Jarre dispenses with the "Part" monicker and this album opens with a piece simply titled "Oxygene 7". I can only describe the opening theme as being vaguely reminiscent of "Part IV" slowed to half time. The whole track is held together by a rolling bassline and analogue drums with flashes of Mellotron stings to provide colour. After about seven minutes the incessant bassline finally withdraws as the main theme is resurrected against the sound of pouring rain. For the final movement Jarre creates something that wouldn't have sounded out of place on "Equinoxe" with its ambient textures and wailing ARP 2600.

Next we segue into one of the other main melodic pieces on the album "Part 8". This song was the lead single from the album and was remixed to death by a plethora of uninspiring dance acts. Whilst I like the song, there is no doubt it was heavily influenced by dance music and not a continuation of the original "Oxygene". Part of the problem for me has always been that this album sounds too busy. In 1976 Jarre only had an eight track tape machine and a small selection of synthesizers. By 1997 he had no such restrictions and, as he acknowledged, "The lack of limitations is very dangerous."

There is a less gracious segue into "Part 9" which features the Eminent 310 Unique strings playing underneath various melodic components that finally give way to a tune played on a patch we first heard on "Oxygene Part 1". I'm not sure if we are supposed to assume the melody of this song is played on a Theremin or not. Jarre was a bit obsessed by the Theremin at this point in time and would unveil it at concerts and appearances as if he were the first to discover it. Having seen Jarre attempt to play the instrument on the tour that accompanied this album, I'm inclined to think that this more polished performance is played on a synthesiser. On the original "Oxygene" this sound was played on a ARP 2600, and having been duped by Jarre's subterfuge on so many occasions previously, I'm inclined to think there is no Theremin on this record.

The last single from the album was "Part 10" which continues to use the wail patch that may (or may not) be from a Theremin, alongside dance influenced beats and various melodic elements. Much like "Oxygene 8" this track was handed to various contemporary artists for them to remix but only "Sash!" came out of the process with any dignity.

"Oxygene 11" is an attempt to recapture the excitement of the second movement of "Oxygene Part V" but it is only partially successful. After five minutes of churning arpeggiator sequences the song peters out and "Part 12" begins. Rather than waste a good tune Jarre resurrects the melody of "Oxygene 7" and plays it as an arpeggiated sequence as the special effects sweep around us. Things slow in tempo for "Oxygene 13" which sees the Eminent strings rolled out once again in attempt to provide a successor to "Oxygene Part VI". Whilst this isn't a bad ending, it's not at the same level as the original. Which is a statement that can be applied to the whole album really. 3/5

One record at a time: 187. Japan - Quiet Life

I bought a copy of the remastered red vinyl of this album in 2021. I'm not sure where I ordered the record from but I suspect it would have cost over £20. I was content with this until Amazon started selling the "Deluxe Edition" which included an LP, three CDs and a book for £25 a few weeks later. So now I own both versions.

The title track that begins this album is a pulsating mix of analogue synths and the superlative rhythm section of Steve Jansen and Mick Karn. As David Sylvian begins to croon in his distinctive lilt it's hard to imagine a song that sounds any more eighties. Which is a stupid statement as this album was recorded and released in 1979.

The second track "Fall In Love With Me" is less conventional and is probably a more accurate reflection of the 'true' sound of Japan. As Karn's fretless bass twists and slurs along you can't help but wonder at his genius.

"Despair" is a suitably maudlin number that sees David singing in French alongside an analogue beatbox. The last track on side one is "In Vogue" which has a distinctive electric piano motif and some great bass but little else to recommend it.

Side two opens with "Halloween" which features more of the drums, fretless bass and sax combination that has gone before. As the album progresses the amount of synthesiser recedes and the tracks become less interesting as a result. The cover of "All Tomorrow's Parties" is a suitably dreamy glide but Barbieri's synth work is pushed to the back of the mix. By the time "Alien" and the final track "The Other Side of Love" come around the synths have been replaced by an orchestra and things just peter out. 

I've seen this album described as "synth based" but in reality the synths are just a garnish; a little sprinkling of fairy dust to augment the traditional rock band. Still, there is something about the totality of this album and its palette of sound that is very impressive. 3/5

One record at a time: 180. The Human League - Hysteria

And so we come to the "difficult second album" that isn't a second album. I own two copies of "Hysteria" on vinyl: an original UK pressing and the yellow version from "The Virgin Years" box set.

Following the success of "Dare" The Human League were under considerable pressure to produce another hit album. This pressure seemed to lead to the band locking themselves up in AIR studios and doing little but argue for months on end. There is one, possibly apocryphal tale, that the band were so stymied they spend a whole week just auditioning kick drum sounds.

For some reason the band decided they didn't want to repeat the successful formula that led to "Dare" and dispensed with the services of Martin Rushent. The first producer to be drafted in was Chris Thomas but for various reasons he left the project half way through. It was left to Hugh Padgham to take the half finished multi-tracks and a dysfunctional band and make a record. Yet both Thomas and Padgham are most famous for working with rock acts and their involvement has always struck me as a mismatch. With such a problematic gestation, it is no wonder the end product was so disappointing.

The opening track "I'm Coming Back" has a whiff of "Don't You Want Me" in the chorus but it is far less successful than its illustrious predecessor. The faltering nature of this record is best illustrated by "I Love You Too Much" which was originally produced by Martin Rushent and released on the North American album "Fascination!" The version presented here retains Rushent's original Linn LM1 programming but dispenses with the electronic percussion and churning synths and replaces them with a maudlin pad sound. I can only describe the approach as an "audio smear" which robs the songs of its dynamics and makes it less engaging. 

If using rock producers weren't incongruous enough, the band now decide to cover seventies funk song "Rock Me Again & Again & Again (6 times)". There have been several occasions when Philip has tried to record with an American funk/soul affectation and it turns out badly every time. The whole thing is just an auditory car crash.

The single "Louise" sounds a bit sparse but there is enough melody to carry it along. The big hit single "The Lebanon" is a pulsing composition that uses the Lebanese civil war as its subject matter. I read somewhere that the bass guitar on this track was sampled into various AMS DMX units and triggered manually; an indication of how over thought this album was. Yet, as Phil was using a Synclavier II at the time of this album, I think it much more likely that this was used.

The second side kicks off with "Betrayed" which sounds naive and a bit like someone doing an impression of The Human League rather than the band themselves. I'm sure there is a good song somewhere within "The Sign" but the execution is so bad it's hard to tell. "So Hurt" is another limp pop song propped up by Ian Burden's bass and the familiar Linn drum machine. History tells us the drum programming for single "Life On Your Own" took a whole week and whilst there are lots of other nice touches that make this an entertaining track, you can't help think it was a little overthought. The final track "Don't You Know I Want You" is a fittingly disappointing finale that only serves to show off the presets in their new Yamaha DX7 .2/5