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M83 mastermind Anthony Gonzalez released Digital Shades Vol. 1 in 2007 as a compendium of unused ambient tracks for diehard fans to enjoy rather than letting these works disappear into the void. It was a way to breathe life into songs that normally would not see the light of day as well as a vehicle for Gonzalez to explore areas of musical creativity separated from the pop-leaning M83 studio albums. Gonzalez credits Brian Eno’s ambient collections as a primary inspiration for the creation of the Digital Shades series. Now, more than a decade later, M83 has returned with the latest installment of Digital Shades - one that adopts a grander nature and seeks to transport listeners to another time and place entirely. DSVII is influenced heavily by early video game soundtracks, ‘80s sci-fi/fantasy films and analog synth pioneers such as the aforementioned Brian Eno in addition to Suzanne Ciani, Mort Garson and John Carpenter.

STAFF COMMENTS

Barry says: I have to admit to being mildly (not mildly) confused when I saw the video for 'Temple Of Sorrow' but then remembered, this is pretty much what Gonzalez does. Massive, operatic instrumental music, euphoric dream-state rock and absolute ego dissolving lysergic 'tron. Mental, but thoroughly brilliant.

FORMAT INFORMATION

2xColoured LP Info: 180g pink vinyl with a galaxy/candy floss effect in gatefold sleeve.

M83

M83

    Aptly titled M83, this album served as the French electropop outfit’s debut release in 2001 on Gooom. Recorded as a duo by founding members Anthony Gonzalez and Nicolas Fromageau, the album was described by Pitchfork as “how it feels to live inside a triumphal music box.” The track names can be read in order to describe a boy/girl meeting at a party. Taken in tow with the sampled movie dialogue throughout, the album serves as a poignant soundtrack for the simplest of scenarios.

    Four years on from the Grammy nominated, critically acclaimed release Hurry Up, We’re Dreaming (featuring platinum selling single “Midnight City”), French electronic act M83 re-issues their first three albums in addition to two digital EPs featuring remixes and B-sides from those albums. After several years of being out of print, M83 (2001), Dead Cities, Red Seas, and Lost Ghosts (2004), and Before the Dawn Heals Us (2005) will be released August 25th, 2014 on Naïve Records.

    M83 has become a household name amongst music lovers due to extensive success across many formats. Since Hurry Up, We’re Dreaming, not only has M83’s Anthony Gonzalez scored two films: Oblivion (featuring Tom Cruise) and You and the Night (directed by his brother Yann Gonzalez), but his music has been used across a plethora of movies, television shows and commercials, most recently in films The Fault In Our Stars, The Vampire Diaries, and 22 Jump Street. Huffington Post even reported, “few recent albums have had a bigger impact on movie music than M83’s Hurry Up, We’re Dreaming.” At radio, M83 reached #1 on the CMJ charts, #1 at Commercial Specialty, and #5 in Commercial Alternative Radio, while receiving rave reviews from publications across the world, including Pitchfork, Spin, Entertainment Weekly, XLR8R, Filter, and countless others.



    Tomorrow’s World is a joint venture between London-based singer and musician, Lou Hayter (New Young Pony Club, The New Sins) and Jean-Benoit Dunckel (Air). Naïve Records now bring us the duo's eponymous debut album of their cinematic love songs - informed by the likes of Factory Floor, Angelo Badalamenti, Suicide, the Shangri-La’s and Lil Louis.

    In Tomorrow’s World, Jean-Benoit and Lou write all the music together. The pair began recording together in Paris in the summer of 2010 after Lou was recommended to Jean-Benoit, who had been toying with the idea of working with a singer during a break from Air. He heard Lou's solo project, The New Sins, and liked her voice so much that he invited her to Paris to see what could happen in the studio. The chemistry was undeniable. “We wanted to do just one track but ended up doing 11,” says Jean-Benoit.

    “These new songs are more abstract and much darker.” Jean-Benoit, too, couldn’t help but approach Tomorrow’s World differently to Air. “When I do things through Lou it’s like an inspiration, the energy is not the same,” he says. “There is more femininity in the music, and also together we like to go into a dark mood. We have this new sound together.”

    Stalking the hinterland of Ballardian, industrial electronics and soulful pop, their lovestruck songs “Think of Me”, “You Taste Sweeter”, “Life on Earth” and “Inside”, pit Lou’s vulnerability against Jean-Benoit’s turbulent electronics. Recording in Paris, the Tomorrow’s World sound evolved at pace. “We were recording in winter and it feels like there’s quite a tense, sinister sound throughout the album,” says Lou. “What’s weird is that I got mugged when we were in the middle of writing “Catch Me”, which is a song about running away from someone chasing you.”

    Though Tomorrow’s World already bear the hallmarks of a classic synth duo, Lou was initially daunted by the idea of fronting the band but she feels happy when with her new partner. “I feel confident with JB because I don’t think it is just about me, it’s about a shared responsibility,” she says. “We both sing and we’re both equal partners, so I don’t feel alone.” “It’s good to be in danger,” adds Jean-Benoit. Tomorrow’s World: one full of intrigue and wonder.


    Moriarty

    Gee Whizz But This Is A Lonesome Town

    'Intriguingly ramshackle, acoustic-folk-blues cum boho-cabaret-jazz quintet, touting a shed load of esoteric instruments and songs about roaming buffalo' - Time Out.

    FORMAT INFORMATION

    2xLtd CD Info: Limited edition deluxe double CD with 40 page booklet.


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