50 YEARS OF MUSIC – 1997 #JMJSeries [Oxygene 7-13 and Guiness World Record in Moskow]

On September 14th 2018 Jean-Michel Jarre released his ultimate Best Of PLANET JARRE – 50 YEARS OF MUSIC. This #JMJSeries will lead you through Jean-Michel Jarre’s special moments of the past 50 years. The episode of 1997 covers the time of Oxygene 7-13 with the unique and crazy event in Moskow that became one of the most memorable Jean-Michel Jarre moments on stage. Advertisements Continue reading 50 YEARS OF MUSIC – 1997 #JMJSeries [Oxygene 7-13 and Guiness World Record in Moskow]

Oxygene 7-13 Press Kit Video

Jean Michel Jarre discusses the background for his spashing continuation from Oxygène, Oxygène 7-13, in 1997. Oxygène 7-13 (Wikipedia) After years of experimenting with new technology, with Oxygène 7-13 he returned to the analogue synthesisers of the Seventies. The album was released in 1997, more than 20 years after Oxygène, and was dedicated to his mentor at the GRM, Pierre Schaeffer, who had died in … Continue reading Oxygene 7-13 Press Kit Video

1997 Interview about Oxygene 7-13

This is an interview where Jarre explains the insight of Oxygene 7-13, promotes its through talking about the touring he’s wishful to do with the album.

Q: What inspired you to write and record Oxygene 7-13?

JMJ: ‘The idea behind Oxygene 7-13 was not to do a Rocky II. It was more an idea of continuing something I had done a few years ago. And I had this idea almost as soon as I had completed the first ‘Oxygene’. I didn’t necessarily plan to do this Oxygene 7-13 this year. It could have been last year or next year. But it happened like this and at the moment where it seems that a lot of people seem to be more and more interested by analogue instruments and analogue synthesisers, to go back. It’s like for a guitar player to play on an old Stratocaster for instance, instead of getting the latest midi guitar, whatever. In a sense, I would say, that if it is not my unplugged album it is a kind of replugged album for me. To be replugged to my roots, to this kind of excitement I always felt by working on textures and working on sounds with no particular strategy but just having fun dealing with sounds.’

Q: How did you approach writing and recording Oxygene 7-13?

JMJ: ‘The main excitement for me of making music is really dealing with textures, with colours. Almost considering sounds like actors, like when you are directing actors on a stage. It is the same kind of attitude I’ve always been interested in. And it was to this Oxygene 7-13 — 7-13 because the first one was part 1 to 6, was really to try to approach composition in this way rather than playing a melody or playing a tune. Starting with raw elements or structures exactly like when you are starting a sculpture on the stone, when you have just the raw elements and then you deal with these raw elements and from time to time you have shapes, give birth to shapes, and it’s exactly what I try to do in this project by, for instance, using instruments like Mellatron or Theramin, but also the first old analogue synthesisers where you can really deal with the actual shape of the sounds. And then working, I mean trying to assemble sounds like in nature, I mean you have a lot of things that are not necessarily made to, co-exist. It’s like your fingers, you know the shape of each finger with time is taking the shape of its neighbour. When you are a kid your fingers are quite straight and with time one finger takes the shape of the next one. It’s exactly the same with sound. Time for each sound being shaped by its neighbour. And so a part of this, a big part of the composition on this project, has been to work on the console, to actually, I would say, knead, like you are kneading clay. Kneading sounds.’

Q: How does this continuation compare with Oxygene 1-6?

JMJ: ‘I felt that the first Oxygene has a kind of transparency quality because of the minimalist approach. The fact that you have now so many layers so each layer is much more important because it has some space, and the idea of allowing time for each part to develop. It has been the most difficult thing for me that, for the new one. I think the new one has a different pace anyway. I mean its a true continuation, because the second one is a development of the first one. It’s not exactly the same mood. It’s a mood later.’

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