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Alternative & Indie - Released October 1, 2003 | naïve

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
In 2003, M83 was still a duo, formed by Southern Frenchmen Anthony Gonzalez and Nicolas Fromageau, before the latter went on to leave Gonzalez to pursue the project solo after the tour of this second album. Two years beforehand, the pair had made a name for themselves with an eponymous debut which established their love for vintage-sounding synths. This Dead Cities, Red Seas & Lost Ghosts is an album that shows their more melancholy side, quite the opposite of a postcard. They pair their electronic music influences (Tangerine Dream, Jarre, Moroder) with shoegaze-esque structures, placing notable emphasis on the guitar sounds creating these almost psychedelic passages: on the cool opener Unrecorded which confirms the group’s head-in-the-stars trademark or on the sleeper hit Gone, more soaring than ever. The United States would have to wait until the following year to see this album released there (in 2004), but since then M83’s success across the pond has never been refuted. © Smaël Bouaici/Qobuz
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Electronic - Released January 25, 2005 | naïve

Distinctions Pitchfork: Best New Reissue
Before the Dawn Heals Us is M83's follow-up to the 2003 international breakthrough Dead Cities, Red Seas & Lost Ghosts. If you're noticing a trend toward drifting album titles, that's deliberate -- M83 mastermind Anthony Gonzalez loves crafting antigravity masterpieces of layered and meandering synthesizers. He's also the principal player on Dawn, with previous collaborator Nicolas Fromageau having moved into solo work. Left to his own devices, Gonzalez has made a more cohesive record than Dead Cities. As nice as they were, that album's synthesized soundscapes tended to drift into a foggy territory between Boards of Canada and Tangerine Dream. Dawn remedies that with the addition of vocals, more consistent beats, and a cinematic pace. "Teen Angst" and "Don't Save Us From the Flames" pin gorgeous melodies to an indie electronic sound comparable to the Notwist; "Flames" in particular is a great departure, roaring out of the gate with giddy drum fills and an oscillating keyboard squiggle. "Farewell/Goodbye" is an icy, Air-ish duet between Ben of Cyann & Ben and Big Sir vocalist Lisa Papineau; it's not the most effective thing on Before the Dawn Heals Us, but it works as a love theme to the imaginary Michael Mann film Gonzalez seems at times to be directing. (Check out that cover art.) The album also has its stretches of instrumental wander. "I Guess I'm Floating," for example, features a scattered sample of children's laughter over lingering keyboard flourishes. But Gonzalez never gets carried away on the breeze -- he'll set a mood, but he'll cut it wide open, too. "Let Men Burn Stars" is a breathy and innocuous lull before the recording's most intense passage, "Car Chase Terror." "Look at my hands, I'm shaking...." a woman (actress Kate Moran) says over the hiss of crickets, her words tense with fear. A moody electronic pulse fades in, and suddenly you're in the midst of the chase, narrated by the same scared voice -- "Turn the key! Go! Go!" -- and the melody is melodramatic and terrifying all at once. Before the Dawn Heals Us is ambitious for sure, an emphatic step forward from the linger of Dead Cities. But it might also be a transition album for Gonzalez, a storyboard of where he'll take M83 next. © Johnny Loftus /TiVo
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Alternative & Indie - Released October 18, 2011 | M83 Recording Inc

M83's lush, expansive sound already made their albums feel twice as big as they were, so an actual double album from Anthony Gonzalez and company was inevitable. However, on Hurry Up, We’re Dreaming, he doesn’t use that extra space to top the widescreen nostalgia of Saturdays = Youth; instead, he fills it with songs that cover more sounds and moods than any of M83's previous work, resulting in impressionistic moments that add up to a grand statement. The album begins with two songs that reaffirm Gonzalez's flair for the unapologetically epic. He recruits Zola Jesus for "Intro," and her unusual mix of frostbitten edge and vulnerable warmth is a perfect conduit for the huge emotions Gonzalez favors. With its sleek neon tones, "Midnight City" shows just how far he's traveled from Saturdays = Youth's ornate sound. He goes even farther afield with the tender piano instrumental "Where the Boats Go"; "Raconte-Moi Un Histoire," where a child imagines a world where everyone turns into jungle frogs over bouncy synths and guitars; and "Soon, My Friend," which ends the album's first half with symphonic grandeur and Beach Boys harmonies. On its second half, Hurry Up, We’re Dreaming sounds more traditionally M83, from the triumphant yet heartbroken "My Tears Are Becoming a Sea" to the thrilling rush of "New Map" and "Steve McQueen." Despite the album's sprawl, Gonzalez holds everything together with wide-eyed enthusiasm. He handles most of the vocals here, singing with a yelp that evokes Howard Jones on "Reunion" and "OK Pal" -- and while this album is as indebted to the '80s as his previous album was, it somehow feels less steeped in nostalgia. Gonzalez displays his uncanny knack for making unfashionable sounds fresh again with "Claudia Lewis'" un-ironic slap bass and "Splendor'"s children’s choir; it takes guts to use these sounds, and brains to use them well, and fortunately, he has both. Unlike Saturdays = Youth's wall-to-wall epics, Hurry Up, We’re Dreaming ebbs and flows, with interludes like the dreamy "Echoes of Mine" and "Klaus I Love You" tipping the album’s balance toward atmosphere instead of pop songs. More than any of M83's other albums, Hurry Up, We’re Dreaming feels like a destination to explore, and its retro-futuristic ambition helped set the tone for synth pop in the 2010s. © Heather Phares /TiVo
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Alternative & Indie - Released April 8, 2016 | M83 Recording Inc

Hi-Res Booklet
4 years after the release of Hurry Up, We’re Dreaming – carried by the smash hit single Midnight City, Anthony Gonzalez continues as the brainchild behind the curtain of M83 with this latest album, rich in sounds, collaborations and sensations “I wanted to break all that and just come back with something that I felt I wanted to do and not what people told me what they wanted to hear”, explains the young expatriate in Los Angeles. To speak about this new album one cannot omit guest appearances from singer Mai Lan, guitarist Steve Vai, Jordan Lawlor, Susanne Sundfør, and even Beck! Gonzalez’ love of the 80s is evident from the start to finish of Junk, but he also goes back even further to original 60s soundtracks and some of the groovy radio tunes of the 70s. An eclecticism that has served the artist wonderfully in the conception of this album. © CM/Qobuz
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Film Soundtracks - Released April 9, 2013 | Back Lot Music

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Alternative & Indie - Released September 20, 2019 | naïve

Booklet
After the tour promoting his latest album Junk, Anthony Gonzalez aka M83 took the time to recuperate at home, in the South of France, away from the madness of LA where he has been based for the last ten years. One of the few French artists to have broken the United States, the Antibes local felt like he needed a break after the reception of an album that he felt disappointed with. Therefore, he went home and spent a long summer “swimming in the Mediterranean, reading, watching films, and playing 80s video games”. In fact, it’s the music from these retro video games that inspired him for this new album, probably the most intimate of his career. Deciding to use only old synthesisers, (an ARP 2600, Jean-Michel Jarre’s favourite, the Prophet 6 used by Moroder, the Roland Jupiter 6 used by Tangerine Dream, Kevin Saunderson and the Pet Shop Boys), he thus followed in the footsteps of electronic music pioneers such as Suzanne Ciani, Brian Eno and John Carpenter. The result is this relaxed album, free from all pop considerations and fan expectations since his global hit Midnight City. Timeless music which perfectly illustrates the idea of what a holiday in the Côte d’Azur is like. “There’s something somewhat naïve and touching about video game music. It’s simple and imperfect and it’s exactly what I tried to do with Digital Shades Vol. 2." Mission accomplished. © Smaël Bouaici/Qobuz
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Alternative & Indie - Released September 26, 2011 | M83 Recording Inc

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Alternative & Indie - Released April 14, 2008 | M83 Recording Inc

Like fellow Frenchmen Air and Daft Punk, M83's Anthony Gonzalez has the knack for making sounds others might think of as outdated, or even tacky, into music that feels stylish and fresh. Saturdays=Youth lives up to its evocative title, but the youth it captures is filtered through nostalgia for the unrepentantly fake sounds of the '80s, transforming them into delicate fantasy pop. Synths whoosh like wind tunnels and ping like lasers, guitars are whipped into ethereal froth, the drums are robotic and proud of it, and the production reproduces the cleaner-than-clean, almost brittle style of the era almost too perfectly. The largely instrumental "Couleurs" races through the night on synth and drum swells that haven't been heard since Miami Vice's heyday, while "Skin of the Night" sounds like it borrows Phil Collins' kit from No Jacket Required. Though Saturdays=Youth often plays like a love letter to artists ranging from the Cocteau Twins to Mr. Mister, it never seems like an exercise designed to just re-create those sounds. The cinematic feel of Before the Dawn Heals Us is stronger than ever here, from the 11-minute finale "Midnight Souls Still Remain," which unfolds like closing credits, to the Breakfast Club-meets-fashion shoot album cover, which makes Saturdays=Youth appear to be the soundtrack to the most glamorous film John Hughes never made. This hyper-stylized teen romance and angst drive the album, taking it to the highest highs and the lowest lows. "We Own the Sky" is jubilant, stretching out into a summery haze of airy vocals and synths; "Too Late" contemplates the end in melodramatic, ultra-romantic fashion, ending with a whispered "you, always." Saturdays=Youth also features some of M83's purest pop yet, which provide many of the album's standouts. "Kim & Jessie" heart-racing young love is one of Gonzalez's finest sonic confections, along with "Graveyard Girl" and the Kate Bush-worshiping "Up!," a sci-fi fairy tale that boasts some fittingly unearthly singing by guest vocalist Morgan Kibby. As super-stylized as its sounds and emotions are, Saturdays=Youth always seems genuine, even when it feels like its songs are made from the memories of other songs. For all of its nostalgic haze, it's some of M83's most focused music. © Heather Phares /TiVo
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Film Soundtracks - Released April 9, 2013 | Back Lot Music

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Film Soundtracks - Released November 18, 2013 | M83 Recording Inc

Following his well-received score for the multi-million-dollar Tom Cruise vehicle Oblivion, M83's Anthony Gonzalez returns to the sound stage to score a film which could not be more different -- a low-budget French sex comedy directed by his brother Yann and starring former Manchester United striker Eric Cantona in one of the lead roles. Naturally the music is very different too, leaving behind Oblivion's epic bombast for a mellow, romantic, intimate orchestral offering which pays homage to the French cinema of the '70s. © John D. Buchanan /TiVo
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M83

Alternative & Indie - Released January 1, 2001 | naïve

The self-titled 2001 debut by the French electronica act M83 displays the group's signature synthesizer-heavy sound at an early stage, but also shows the group floating abstract sonic landscapes that only hint at its later pop-informed aesthetic. (The surging "Sitting" seems like a dry run for the majestic "Run Into Flowers" from Dead Cities, Red Seas & Lost Ghosts.) Featuring spare beats and occasional guitar riffs amidst dense keyboard lines, the disc is practically vocal-free (excepting only a few samples), making it a more conceptual though still compelling record. © Eric Schneider /TiVo
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Film Soundtracks - Released March 8, 2019 | M83 Recording Inc

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Alternative & Indie - Released December 30, 2003 | naïve

On the list as one of the most radiant keyboard albums, M83's absurdly lush Dead Cities, Red Seas & Lost Ghosts combines a small arsenal of antiquated synths and drum machines with a shoegaze aesthetic to create a giant starburst of sound and analog miasma. A French duo comprised of Nicolas Fromageau and Anthony Gonzalez, the pair's songs seem to evolve from one major chord to the next with tremendous velocity, always accumulating dense new layers of sound along the way. The keyboards throb, quiver, arpeggiate, and drone with such unbridled intensity that there's rarely any space (or need) for anything else. But while the shrill analog thrash of "America," the frenzied overload of "0078H," and the sustained crescendo of "Noise" certainly prove beyond doubt that guitars needn't be a prerequisite for post-rock dramatics, M83 are so much more than just a quiet-loud-quiet-loud outfit with a twist. As evidenced by the singsongy hymnal of "In Church," the sweetly sung vocals on "Run Into Flowers," and the provincial chimes of final track "Beauties Can Die," M83 is a keyboard band of the best kind: one with nuance, tone, thrash, and color. © Mark Pytlik /TiVo
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Dance - Released February 24, 2012 | M83 Recording Inc

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Alternative & Indie - Released February 2, 2017 | M83 Recording Inc

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Pop/Rock - Released May 7, 2012 | M83 Recording Inc - naïve

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Alternative & Indie - Released January 25, 2005 | naïve

Before the Dawn Heals Us is M83's follow-up to the 2003 international breakthrough Dead Cities, Red Seas & Lost Ghosts. If you're noticing a trend toward drifting album titles, that's deliberate -- M83 mastermind Anthony Gonzalez loves crafting antigravity masterpieces of layered and meandering synthesizers. He's also the principal player on Dawn, with previous collaborator Nicolas Fromageau having moved into solo work. Left to his own devices, Gonzalez has made a more cohesive record than Dead Cities. As nice as they were, that album's synthesized soundscapes tended to drift into a foggy territory between Boards of Canada and Tangerine Dream. Dawn remedies that with the addition of vocals, more consistent beats, and a cinematic pace. "Teen Angst" and "Don't Save Us From the Flames" pin gorgeous melodies to an indie electronic sound comparable to the Notwist; "Flames" in particular is a great departure, roaring out of the gate with giddy drum fills and an oscillating keyboard squiggle. "Farewell/Goodbye" is an icy, Air-ish duet between Ben of Cyann & Ben and Big Sir vocalist Lisa Papineau; it's not the most effective thing on Before the Dawn Heals Us, but it works as a love theme to the imaginary Michael Mann film Gonzalez seems at times to be directing. (Check out that cover art.) The album also has its stretches of instrumental wander. "I Guess I'm Floating," for example, features a scattered sample of children's laughter over lingering keyboard flourishes. But Gonzalez never gets carried away on the breeze -- he'll set a mood, but he'll cut it wide open, too. "Let Men Burn Stars" is a breathy and innocuous lull before the recording's most intense passage, "Car Chase Terror." "Look at my hands, I'm shaking...." a woman (actress Kate Moran) says over the hiss of crickets, her words tense with fear. A moody electronic pulse fades in, and suddenly you're in the midst of the chase, narrated by the same scared voice -- "Turn the key! Go! Go!" -- and the melody is melodramatic and terrifying all at once. Before the Dawn Heals Us is ambitious for sure, an emphatic step forward from the linger of Dead Cities. But it might also be a transition album for Gonzalez, a storyboard of where he'll take M83 next. © Johnny Loftus /TiVo
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Pop/Rock - Released November 26, 2012 | M83 Recording Inc - naïve

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Hip-Hop/Rap - Released July 5, 2010 | naïve

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Alternative & Indie - Released December 9, 2016 | M83 Recording Inc