![]() Life is getting really tough for everybody-artists, anyone, really. 1' is in the original Digital Shades release, but was the plan always to make a sequel?Īnthony Gonzalez: The first one, to be honest, was an album that I made simply to fulfill a record label deal. The pulsing harpsichord and haunted choir on "Hell Riders" recall the epic and audacious scores of big budget 80s cinema, while the love-weary piano and almost-saccharine harmonizing synthesizer on "Oh Yes You’re There, Everyday," are equal parts infomercial and bleeding-heart ballad. It's a gorgeous record, blanketed in the lush synthesizers M83 is known for, but the theatrics are stripped and what's left is a window into what inspires and influences the artist. Making the album was a release for Gonzalez, and the results on DSVII and its accompanying film are staggering. ![]() ![]() "I was just finishing up a big tour for Junk, a lot of work for Cirque du Soleil, and I needed to do something for myself. "Working on Digital Shades is always a way to cleanse myself," Gonzalez explained to VICE. In his eyes, DSVII is a no-stakes enterprise, a reset for an artist trying to rediscover why he likes making music, anyway. Gonzalez relocated out of necessity, because after Junk and its tour, he felt empty, a bit broken, and disenchanted with the commercial aspects of music. 2, a follow-up to a fairly ambient and textural 2007 release. That turned out to be Digital Shades Vol. After the commercial and critical disappointment of Gonzalez's 2016 release- Junk-and its subsequent tour, the bandleader needed a break so he could figure out what exactly was next for M83. Gonzalez decamped to France in 2018 to escape the pressures of his career as M83.
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