M83, the creation of Anthony Gonzalez, a resident of France, creates a lush sonic landscape reminiscent of such shoegazer acts as My Bloody Valentine or Slowdive. But their ingenious blend of synthesizers and ethereal guitar arrangements promises to separate them from their contemporaries in the electronica scene. The sometimes overwhelming, but brilliant synth-laden compositions create a transcendent experience unlike anything so far this year.
"Dead Cities, Red Seas & Lost Ghosts," M83's 2003 debut, was critically praised. The follow-up, "Before the Dawn Heals Us," continues the tradition of heavily orchestral electronica, accompanied by fragile Sigur Ros-esque vocals.
The album is at its best when it successfully fuses the electronic with the organic. In tracks such as "Teen Angst" and "Farewell/Goodbye," delicate vocals convey the sense of despair right alongside hope. They resonate strong against a background of rhythmic beats, ranging from sparse and gentle, to a sudden engulfing blend of guitar-driven distortion.
They fall short of their lofty goals occasionally, most notably on "Fields, Shorelines and Hunters," where electronic noise melds with screechy guitars to create an experimental wall of noise. It offers many possibilities, but eventually collapses into chaos. "I Guess I'm Floating" drifts aimlessly, just as the title offers, but unfortunately comes no closer to purpose or destination.
"Before the Dawn Heals Us" captures the essence of nightfall - the unknown, the mystery and the fear that confront the world every night. The luminous sounds are otherworldly, perfectly personifying the unfamiliar, and its sense of awe. Those who think electronica is only appropriate for clubs may find this album serving as an awakening, an awakening sorely needed in an otherwise stagnant genre.
Standout track: "Farewell/Goodbye."
Photo: Courtesy of Matthew Messina, from the RMBERS' Instagram page
