M83?

That's why I like it so much. My main problem with shoegaze related music is the lack of rock, the lack of propulsion, especially in opposition with slower/quieter moments within the same song. Fennesz (and other laptoppers) can be beautiful and/or powerful, but there's not enough there for me to love - Endless Summer worked for me because the songs were there. I guess as much as I love 'noise', it's not enough by itself - I still need songs (which is why I loved Dntel's "Dream of Evan and Chan") and the noise must still serve the purpose of the emotion, or the melody or the groove. You could say that's it's one thing to love the feeling of the ocean, but I guess I still need to swim. Slowdive and similar slowgaze music is often too plodding and often has this odd goth affectation (which I think Ned is more fond of than I).

If "Dead Cities" was M83 trying to replicate "Loveless", then this one is M83 trying to replicate "Isn't Everything".

An interesting equation - I'd say they get even closer to the highs of Loveless on this record (although there's nothing identikit about it). They've found their own songwriting here - a continuation of "Run Into Flowers". I'll definitely have more specific things to say as I listen more.

Also, I don't really get what's cheesy about "A Guitar and a Heart", song or title-wise.

Very, very well worth your time. I highly agree with Barry's assessment of Sianspheric, they are the spiff.

You are correct, sir! But if Slowdive started off Cure they ended up Durutti.

So did "Digital Love"!

(although yeah, I had actually skimmed past the beginning part before which takes a bit of getting used to. I think it's *classic* by the end!)

they are soon to be on my hard drive as well, thanks for the recommendation

Dude, that really does sound like their Mogwai fetish is in full effect!

So it's like the first album?

I'm always amazed how simple alterations to a group's sound can force a cringe from even the most ardent fans. Earlier this year, some Palace aficionados were disturbed by Will Oldham's conversion of his lo-fi porch songs into slick Memphis country. Well, there's more horror on the horizon-- the separation between M83 and Journey is thinner than you had possibly imagined. Consider "Guitar and a Heart", its monochrome chord progressions, minor-key guitar slides, and arena rock drum fills. Or its new-age synth-- sounds typically produced by scarf-wearing thirtysomethings, guys shielded by Casios stacked three high who only manage to play one note. Of course, you have no idea what my face looks like as I listen to this unfortunate misstep, so let me describe it to you-- it reads something like "eeew." [Joel Ebner; December 1st, 2004

He's obviously assuming that the entire album sounds like that -- he'll be a bit embarassed when he hears the whole thing!

You've been reading Pitchfork for how long exactly? I mean, I think both of those qualities are pretty sewn-in to fabric of Pitchfork's reputation/infamy/unpopularity around ILX.

And there's nothing wrong with calling them out on something, even if it's been done many times before. I actually revived this on this thread in order to support the new M83 record in my own little way.

"Pitchfork SAYS:"

X

http://images.amazon.com/images/P/B00070Q8HC.01._SCLZZZZZZZ_.jpg

"Don't Save Us From the Flames" is starting to sound like something from the "Flashdance" soundtrack to me. It's still awesome, though.

(the cover, that is. not the music. which i haven't heard yet and am oddly apprehensive about.)

Better than the last album though.

Brilliant. Now I *really* like them.

i don't know though because bits of the album sound like the score to blade runner too, so...

but the 1st and 3rd track are 100% epic.