M83:Hurry Up, We’re Dreaming

9.0/10 dropps
Mute; 2011

Dreams have never been big enough for Anthony Gonzalez. Bigger and more extravagant has always been better for his experimental electronic project, M83. 2005’s Before the Dawn Heals Us was an anthem for the young and lonely angst-ridden teenagers, and 2008’s Saturdays=Youth was an ambient reference to all things past and romantic, with the 80’s lying in the dead center. But now Hurry Up, We’re Dreaming is a literal invitation into Gonzalez’s mind. He doesn’t want listeners to simply let his message pass by unnoticed. So instead, right from the beginning, Zola Jesus’s voice rings out on “Intro,” as if she’s singing from the tops of mountains, and a congregation of singers lift up their voices in an ethereal chorus. It’s as if you’ve just been sent off in a rocket from the first second. There’s no easing you into this album; it’s just simply overtaking.

Hurry Up, We’re Dreaming is M83’s first double album, sixth studio album and a good sign that Gonzalez has no intention of slowing down or reeling back. And as the title suggests–with no hint of subtlety–Gonzalez wants you to dream big with him. In an interview with The Guardian, Gonzalez explained that he originally set out to make a double album. It didn’t just happen that way; it was his destination. “I just turned 30 . . . it was time to try something I’d remember all my life,” Gonzalez said in the interview. That sort of ambition is reflected on nearly every track of Hurry Up. On “Reunion,” Gonzalez narrates a moment in time that seems to last forever, a “never-ending dance,” a “blooming and a trance.” Later on in the song, a woman’s voice says, “I could build a fort and play all day / Between your lips and mine / Let’s stay here forever.” It sounds like the dreams and wishes of a young couple in love. It’s stripped of all responsibilities and gives no heed to past concerns. And that’s what the rest of Hurry Up seems to proclaim: love and innocence. It may be a big dream, but what more could you ask for?

With 22 total songs and a collective 70 minutes of runtime, “colossal” and “epic” simply become flat adjectives for this album. Whether it’s the droning, relaxing synths of “Where the Boats Go” or the reverbing drums that explode on “Midnight City,” Gonzalez is making sure that his listeners are with him every step of the way. “This Bright Flash” is a perfect example of the full experience you’re meant to take away from the album. Beginning with soft unintelligible vocals, it suddenly crescendos with a volatile drum fill before you even expect it. “Wait” and “Soon, My Friend” rely more on simple guitar rhythms and act more like ballads. “Wait” seems to speak to a young and restless crowd as Gonzalez continues to belt, “No time / No time / No time,” and on, and on. It’s a bit dramatic, but so are Gonzalez’s dreams.

The affinity for all things 80′s has certainly not been lost on this album. The funk bass line and reverbing electric drums on “Claudia Lewis” don’t sound too far off from something like the theme to Beverly Hills Cop. But, haven’t we had enough of the 80’s-themed synth-pop albums? Lately we just can’t seem to get enough of them. While 2008’s Saturdays=Youth felt like a giant reference to that particular era, Hurry Up, We’re Dreaming feels as though it’s actually situated in it. It doesn’t simply want to feel as though it’s from the 80’s; it acts as though it is. Hooks are bigger and better. Choruses are louder and longer, and like all of the glossy aesthetic that came with 80’s music and film, Hurry Up feels just as ostentatious.

Disc two feels a tad more ambient. It focuses more on the shorter, instrumental tracks and just feels a bit more introverted overall than the first disc. In his interview with The Guardian, Gonzalez also explained that this is a concept album. The brother and the sister holding each other on the cover are supposed to be representative of the two discs. One is the brother and the other is the sister. So while disc two does feel a bit more reeled in than disc one, that’s not to say that it’s any less ambitious. “Steve McQueen” bursts on to the scene with sparkling keyboards and building drums that feel like the start of something brand new. You quickly realize that Gonzalez hasn’t dropped out in the second half at all. Straight on to the end of disc two, with “Outro,” Gonzalez’s voice rings out with a chorus behind him that feels as though the credits are about to roll on the movie before you. It’s explosive, and we’ll just go ahead and say it–epic.

But one has to wonder, is this all a bit much? Has Gonzalez’s ambition simply reached the point of excess? Well, there’s a good argument for that point. Most of what’s on Hurry Up has already been done on the past M83 releases. It’s not necessarily new territory at all. But it is the same trust-worthy territory explored in a new light–a bigger, better, more grandiose light. Jumping onboard with M83 at this point in time is more worth it than ever. All technical aspects of this album have been run over with a fine-tooth comb. Production is flawless and so is the concept. That’s what really drives this album home: Gonzalez’s attention to detail. He said that this album was something that he, himself, would always remember, and that’s exactly what you’re meant to experience right along with him. Hand-in-hand, from one disc to the next, this album is more than just one man’s dream–it’s his and the listener’s dream together.

–Robert Miller