M83's seventh studio LP defies expectations with a quirky '80s throwback sound, but is likely to put off long-time fans
M83/ Junk
M83's Anthony Gonzalez is a man fascinated by dreams. His last double studio album, 2011's Hurry Up, We're Dreaming, was centred on these nocturnal projections, dealing with youth, nostalgia and memories. Drenched in hazy synths, the album spawned breakthrough hits like Midnight City, Reunion and Wait. Suddenly, M83 became a sought-after authority on crafting dreamlike soundscapes, which led them to provide the soundtrack for sci-fi films like Oblivion and Divergent. Several of their songs were also featured on popular American TV series from Gossip Girl to The Vampire Diaries. Gone are the days when M83 was just an obscure French band; Anthony Gonzalez and Co have fully arrived.
But fame definitely has its price. According to Gonzalez, his latest output as M83, Junk, emerges out of "a period of severe disillusionment". The slightly less ambitious album name refers to how today's consumers only pay attention to one or two singles and basically discard the rest of the album. Junk reflects that sentiment (and, perhaps, contempt) through a collection of songs that purposely forego M83's trademark musical aesthetic and embrace the kitschy throwback vibes of the '70s and '80s.
Setting the tone of the album is opener and lead single Do It, Try It. A far cry from the grandiosity of Midnight City, the track is a pure energy release built on upbeat piano chords. Together with the song, the accompanying video acts as a statement, showing a meme-like Yorkshire terrier mouthing the lyrics against the moving starry backdrop. It feels almost as if Gonzalez wanted to point out that he's being deliberately juvenile while further underlining the fact that this time he's not taking himself seriously.
Go! stands out with its melodic urgency, thanks to vocalist Mai Lan and Steve Vai, who's kind enough to provide one of his legendary guitar solos. Walkway Blues and Bibi the Dog are nice enough, but far from memorable. The same goes for even the Beck-assisted Time Wind, synth-pop mid-tempo fodder where he sings, rather uninspiringly, "Wake me up from the long way that we've come/Just to find out that it's all been said and done." Solitude fares better with its lush orchestral embellishments and gossamer ambiance. It's essentially the closest to classic M83 this record has to offer.
For the most part, Junk exudes that strange sort of energy and tension akin to when your best friends get mad at you for no apparent reason. They will deny it when you bring up the subject, but deep down you know it's only a matter of time until they unfriend you on Facebook. In much the same way, this album may be full of offbeat elements like saxophone solos, vibrant '80s synths, and a talking Yorkie, but Gonzalez still comes across as surly and resentful. Junk is likely to leave fans of M83 scratching their heads, wondering what they've ever done to deserve this treatment.
THE PLAYLIST
Solitude is Bliss/ Satree
Chiang Mai-based quintet Solitude Is Bliss is known for its unique sonic fusion of alternative rock, psychedelia and luk thung (Thai folk music). After releasing the stellar five-track Montage EP in 2014, the band recently dropped full-length studio album Her Social Anxiety. Satree kicks off with a rhythmic thudding of 4/4 drum beat and guitar riff that readily recalls The White Stripes' modern classic Seven Nation Army. The song then comes into its own during the bridge and chorus as frontman/guitarist Thanaphol "Fen" Chumkhammol delivers an impressive vocal performance.
Calvin Harris (featuring Rihanna)/ This Is What You Came For
Calvin Harris and Rihanna's new collaboration is a blatant attempt to replicate the success of their 2011 monumental smash We Found Love. The result is a synthy house number that keeps building until it erupts with the all-too-familiar euphoria. Rihanna sounds uncharacteristically sweet here, like she's relinquished her bad girl cred -- however temporary that is. Not a bad dance anthem, albeit a lesser We Found Love.
Ladyhawke/ A Love Song
New Zealand's Phillipa "Pip" Brown has been making music under the moniker Ladyhawke since 2008. One of the early female indie musicians who championed new wave and synth-pop sounds, Ladyhawke gave indie kids gems like Back of the Van, Paris Is Burning, Dusk Till Dawn and My Delirium. Her latest cut, simply titled A Love Song, marks the first new music since her second LP, 2012's Anxiety. It's a light and bright affair with some of the most uplifting lyrics we've heard from the singer to date ("This could be my life but it's only words/To make me feel right when the meaning's blurred").
Yuna (featuring Usher)/ Crush
Malaysian indie songstress Yuna is no stranger when it comes to working with world-class producers like Chris Braide (Beyonce, Sia) and Pharrell Williams. She has joined forces with veteran R&B crooner Usher to give us Crush, a sensual new jam taken from her upcoming fifth studio album, Chapters. It's not a bad song although we feel it's written with Usher primarily in mind rather than Yuna. As a result, it's a little bit jarring to hear the indie darling singing things like "I see you arriving in your car/Jet black Mercedes, built in the '70s/Classic like you and me".
The Lumineers/ Angela
With singles like Ophelia, Cleopatra and now Angela, there seems to be a theme going for the song titles on The Lumineers' sophomore album. Here, the folk-rock quintet gives us a slice of wistful Americana as lead vocalist Wesley Schultz sings about a woman named Angela. "When you left this town, with your windows down/And the wilderness inside/Let the exits pass, all the tar and glass/'Til the road and sky align," he begins over soft acoustic guitar as the tension slowly builds to the rousing refrain of "home at last".
