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Rating: At first, it left me a bit indifferent: I expected an album more similar to the previous ones, focused on dream pop and shoegaze, while in this one, M83 has brought out a decidedly more pop-rock vein (and that nods to radio music, not to mention the modified voices reminiscent of modern dance music). Then, after several listens, I began to appreciate the vocals, which are often less rarefied and strongly inspired by those of Peter Gabriel. Dream pop and shoegaze are still found in some tracks, especially in the numerous keyboard interludes, with very short but impactful pieces.
The album opens with “Intro”: heavenly synths, Peter Gabriel-like singing, crescendo with female vocals, spatial harmonies fading out. “Midnight City” is characterized by dream pop vocals (recalling, among others, Pet Shop Boys and The Alan Parson’s Project), modified voices on the drum machine, funky rhythm, steady beat, sparkling sax solo: one of the best episodes of the album. “When The Boats Go” is an interlude of ethereal and melancholic keyboards and piano. “Wait” is a ballad with dreamy singing reminiscent of Mojave 3 in the verses and acoustic guitar accompaniment, but it turns into a rock piece in the chorus (here, too, Gabriel's influence is quite noticeable); it culminates in a zenith of wailing vocals. “Raconte-moi une histoire” is one of the masterpieces of the album: it starts playfully while a child's voice narrates what it's like to be a frog. The second part is a celestial chase of metaphysical keyboards and expanded voices. “Train To Pluton” is another interlude: a sparkling synth sketches a space atmosphere. “This Bright Flash” brings out the influence of Mojave 3 again but channels it into an overwhelming rock-shoegaze miasma; then the voice stutters and repeats until it sends the listener into a trance. “Soon My Friend” has a more psychedelic vein that even recalls Pink Floyd's “Wish You Were Here”. Moving on to “New Map”, for me the absolute masterpiece of the album: the transcendental influences of shoegaze and dream pop intertwine with those of rock in a track where the voices act as a sound carpet and the keyboards take the lead, with a magnificent flute run at the end, connecting to the sax notes. “Ok Pal” explodes in the magnificent finale where a voice soars until it becomes a bittersweet requiem. “Splendor” could have come straight out of “Excuses for Travellers” except for the synthesizer run that directly recalls the psychedelic music of the late 60s. “Fountains” lasts only a minute and twenty, yet it is one of the most beautiful tracks on the album: the keyboards become languid and the voices sigh as the gates of Valhalla swing open before the listener. Moving on to “Steve McQueen” where the frenetic and vibrant keyboard phrasing is reminiscent of some early tracks by Underworld: the song is the catchiest and most pop of the entire album, the chorus unfortunately recalls “Paradise” by Coldplay but it redeems itself with magnificent synthesizer work. Overall, a work inferior to the previous one, but still a good album. There's hope that with all the soundtracks they are composing (like that of Oblivion, for example), M83 do not become too pompous and epic, and do not slide too much into radio music. My fear is that this album is the beginning of a commercialization process, in other words, the beginning of the end. Let's hope not.
RATING: 7 out of 10
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