Mike Oldfield
Islands

THE REVIEW

In the mid-80s, Mike Oldfield started to take a concrete interest in the fusion of music and visual graphics, video art, and computer graphics. The new work from 1987, "Islands," provides the opportunity to put this passion to the service of his own work, specifically with each song created in association with a video product where real images merge with computer graphics. Viewed today, these videos show their age and bear witness to a still immature era for these technologies, but the product is still noteworthy. Two of the best moments to absolutely remember are the poetic "Magic Touch" and the cosmic "The Time Has Come" sung by Mike's partner, the Norwegian soprano Anita Hegerland. It is therefore imperative to remember that this project can only be properly evaluated by including the videos; "Islands" does not have outstanding musical peaks, and Mike settles on already traveled paths by adding a greater electronic component that combines with elements of ethnic music and pronounced pop tendencies. "Islands" should not be considered one of Oldfield's great cornerstones, but it is a pleasant work that fully integrates into the historical period, complete with all the flaws of the pompous and excessive productions of the '80s. The suite that occupies the entire side A, "The Wind Chimes," is a return for Mike to a grand, complex piece modeled after "Taurus II" that occupied side A of "Five Miles Out" from 1982. Musically, it is based on a melody reminiscent of "Crises" from 1983, which itself harkens back to the intro of "Tubular Bells," blending it with a strong Eastern and African ethnic component on a synthetic base with powerful drum interventions by Simon Phillips and evocative vocals by Hegerland. The associated video is very interesting, although perhaps too dispersed and too long in representing the entire piece. Side B opens with the disappointing "Islands" sung by Bonnie Tyler; it is one of Mike's worst tracks, and the singer's hoarse voice is wasted on an anonymous song that is quickly forgotten. "Flying Start" features old friend Kevin Ayers on vocals; the piece and associated video are a blast and bring back a very pop Ayers, at ease in a more traditional song compared to his quirky, exceptional songs about "drinking, screwing, and drinking after screwing." "North Point" is another very dreamy and magical track sung by Anita Hegerland.

Despite the heavy use of an '80s production thanks to the Fairlight, many sounds are sampled and reworked, and the record is appreciated for a return to a more complex form compared to the previous "Discovery" from 1984, and it is also a product of the "The Killing Fields" soundtrack with its numerous ethnic influences. The entire video part is worth appreciating, but the Mike of this period would later get lost in a disastrous album like "Earth Moving" from 1989, the nadir of his production.