Jean-Michel Jarre is the French synthesizer innovator who has sold 80 million records, crafted some of electronic music’s most legendary tracks, and performed open-air concerts to millions at venues including the Eiffel Tower and the Pyramids of Giza. Jeff Mills is the groundbreaking Detroit artist who shaped the early landscape of techno with Underground Resistance and, as The Wizard, held residencies at both Tresor and the Louvre, breaking down the boundaries between the dancefloor and concert hall through his orchestral partnerships.
Both artists have made a profound impact on electronic music in their unique ways, and now they’ve collaborated on a track for Jarre’s upcoming album Electronica 2, the second installment of a multi-album endeavor that features collaborations with numerous musicians who have made a lasting influence on electronic sounds, including Gary Numan, the Pet Shop Boys, and Laurie Anderson.
“This project, Electronica, is about collaborating with individuals who serve as a significant source of inspiration for me,” Jarre shares over the phone from Paris. “Jeff was high on my list. The track is titled ‘The Architect’ – it’s essentially a tribute to Jeff. There’s a clear connection between cities and electronic music, and in techno’s case, Jeff is synonymous with Detroit. However, beyond that, I view Jeff as an architect of electronic music. His sound is as abstract as modern architecture yet profoundly organic. I believe this track captures a true balance between our DNAs and universes.”
If there’s a common thread between the two artists, it’s their fascination with the future. Although they emerged in different decades, both were drawn to the latest technologies of their times, using them to pioneer new musical expressions. It’s no surprise that both are avid science fiction enthusiasts, heavily incorporating images of space and a techno-futuristic universe to envision humanity’s next chapter. “I grew up listening to Jean-Michel’s music,” shares Mills. “In Detroit during the 70s and early 80s, we referred to it as ‘progressive music’ because there wasn’t a genre to categorize it. It was music that truly represented a future reality.”
Before the release of Electronica 2, the two artists connected to discuss the future, how electronic music can influence it, and the major obstacles that stand in the way of progress.
Jean-Michel Jarre: (When we first met) we conversed in my studio a long time ago about structuring a piece of music. You had a pretty clear vision of where you wanted to go, which is not common among many musicians. We (also) discovered that we shared similar interests – one of the foundational films for both of us was 2001: A Space Odyssey.
Jeff Mills: (Meeting you) opened my eyes to numerous concepts. Prior to that, I lacked a direct comprehension of what electronic music truly contributes to the creative realm, but after our three-hour conversation, we found a common thread in music being regarded for practical reasons. Even if those reasons seem far-fetched, whether they reflect dreams, fantasies, or escapes, they always hold a practical purpose.
Jean-Michel Jarre: I sensed that when we referenced 2001: A Space Odyssey, you were connected to this desire for the future – a somewhat Romanesque vision of what lies ahead. The reason our generations have been so inspired by films like 2001 is that it represented a complete spectacle, transcending mere cinema. I believe that’s what we aim to convey in our music—sounds that allow audiences to create their own narratives.
Jeff Mills: 2001 acts as a multi-dimensional key. I regard it in that way because, for me, it’s not merely about the film’s storyline but rather how it unfolds and the emotions it evokes post-viewing. I felt it brought viewers a step closer to envisioning the future. I also perceive that in your music. During my youth, we sought out artists and musicians whose work felt as though it propelled us beyond the turn of the century. Music serves as a means to draw attention to notions that resonate and stimulate existing ideas about possible futures.
“Music is one way of bringing things to people’s attention in ways that resonate and stimulate ideas that people already have in their minds about what the future could be” — Jeff Mills
Jean-Michel Jarre: What is your current relationship with the future? I recall a time when we harbored hope for what lay ahead; we thought that post-2000, society and education would vastly improve, with flying cars and remarkable tools. Yet, it appears that after 2000, we lost that optimism toward the future. Now, we find ourselves in a darker era, focused more on whether we will destroy the planet. The icons for children are Marvel superheroes, echoing the figures of the 1950s. It feels like we need to reinvent our vision of the future. However, in recent years, films like Interstellar, Gravity, and even The Martian have begun to revive that sci-fi vision of tomorrow.
Jeff Mills: I firmly believe that a time will come—perhaps even within our lifetime—that will be shaped by the innovations of the 20th century. Many of our once-imagined ideas for communication will come to fruition this century. For instance, the internet – I feel we haven’t yet maximized its potential for effectiveness. We will truly comprehend its significance during a time of crisis—an unprecedented, large-scale crisis—and I think we have yet to experience such an event this century. Thus, when composing, I envision that time and the adaptations we must make as humans to cope with unprecedented experiences. I don’t foresee it being thousands of years ahead, but rather much sooner.
“(We thought that) after the year 2000… cars would fly; we’d have all of these fantastic tools. And it seemed that after 2000, we lost this kind of innocence towards the future” — Jean-Michel Jarre
Jean-Michel Jarre: I possess a slightly different perspective on the future. Two centuries ago, we couldn’t fathom electricity, yet it transformed our world – and we managed to adapt. Now, for the first time in the 21st century, we recognize that AI will eventually surpass human intelligence. It’s projected that once this occurs, mere years later, one machine could become more powerful than the collective brains of all humankind. It’s not akin to confronting electricity. The primary computer has already defeated the game of Go, and now it consistently beats the best player. So, what’s the point of playing that game again? What happens if a machine can suddenly create music or films, rendering us unable to compete? That doesn’t particularly concern me, but it does alter my vision of the future significantly.
Jeff Mills: Are you suggesting that we might eventually lose our sense of purpose?
Jean-Michel Jarre: In a way, yes. I’ve pondered the photograph you shared with me, the prototype of your drum machine in Japan resembling a UFO. We’re fascinated by entities from alternate universes and realms, yet I’m unprepared for something emerging from our own planet – that we may end up with machines taking control.
Jeff Mills: Perhaps humans possess too much freedom; we don’t always know how to utilize it. We require direction or purpose to make sense of why we arise each morning or why we retire at night. Total freedom raises the question of whether we genuinely desire that. If technology offers a solution, then why be burdened by it? I’ve been considering what humanity truly contributes to nature. I remain uncertain. You see, nature can survive without us.
Jean-Michel Jarre: I firmly believe that the Earth is far more resilient than we are.
“We’re all fascinated by people coming from a different universe and a different world, but I’m not prepared for something coming from this planet” — Jean-Michel Jarre
Jeff Mills: It really strikes at the heart of the question: why are we here? Eventually, we’ll try to discern that, and there may come a significant breakdown where someone will need to redefine and clarify our existence and what we must do to evolve or merely survive. Someone needs to provide a rationale. That aspect seems to remain unchecked, you know?
Jean-Michel Jarre: I’m curious if all these future aspects and inquiries are influencing your music inspiration at present. I know you’ve been involved in a substantial project centered around the planets, merging classical pieces with your music. Does this engage with what we’ve discussed, or is it separate?
Jeff Mills: The planets project holds particular significance for me because I genuinely believe that humanity will explore each of those celestial bodies—physically or at least get close enough to observe them with our own eyes. I’m confident of that. I truly believe that the most promising days for our species lie ahead, despite the current bleakness. Societal adjustment invariably breeds chaos—out with the old and in with the new often sends individuals into turmoil. The world needs time to regain its balance; it took 50 years for the industrial age to conclude! We have multiple decades ahead before we genuinely feel aligned with computers and similar technologies. I feel like we haven’t genuinely started yet. We’re kind of in a waiting zone, anticipating a diagnosis.
“I truly believe that the best times for our species have yet to come, despite all the dark days” — Jeff Mills
Jean-Michel Jarre: I wholeheartedly concur. I believe this apocalyptic anxiety arises from the media sensationalizing the apocalypse for profit. Peace is neutral and not particularly captivating. That’s why I oppose the narrative of ‘Yesterday was better, and tomorrow will be worse.’ We must not forget that two centuries ago, many were losing their teeth by age 18, had no access to antibiotics, and 90% of the population faced starvation. By comparison, we are on the whole slightly better off today, even amidst our current challenges. As Jeff mentioned, we are still in our infancy in the digital era and on the internet. Historically, it took a considerable period to realize the effects of the industrial revolution, so we require more time to fully embrace the digital world.
Yet one of my primary concerns today—this is why I collaborated with someone like Edward Snowden—is that a select few can exert control over the world. They can surveil us and invade our privacy. There’s always a danger when those who govern are watching those who are governed. I grew up with this understanding; my mother was a significant figure in the French resistance. She always told me that in 1941, joining the resistance meant being viewed as a troublemaker and, for some, as a traitor for opposing the established power. Nowadays, digital technology empowers governors increasingly over the governed. This concern weighs on me. As Jeff noted, in the long run, solutions will emerge, but we need whistleblowers and advocates throughout history to stand against prevailing powers. The ethical dilemmas surrounding the use and misuse of technology have always been a philosophical challenge for humanity—considering the atom’s discovery which revolutionized medicine but also birthed the atom bomb. It’s the same with the internet. Technology is neutral; how we choose to use it determines its impact. Awareness is crucial.
Jeff Mills: As long as humans exist and cohabitate, we will confront these issues. However, it may signal a different reality we prefer to inhabit—even if it isn’t authentic. A simulated reality could fulfill our aspirations: we trust each other less and prefer distance, so why not? (Perhaps) I don’t wish to be Jeff Mills every Tuesday—I might rather be Miles Davis then, and switch to Michael Jackson on Thursday. Technology might allow us to experience life as these individuals, providing an escape.
Jean-Michel Jarre: That sounds like an exciting week!
Jean-Michel Jarre’s new album Electronica 2 is out now
Fuente original: www.dazeddigital.com
Publicado originalmente el 2016-05-06 07:00:00 por
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