Tag Archives: Anthony Gonzalez

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M83 – Terminal 5 – October 14, 2016

October 17th, 2016

M83 - Terminal 5 - October 14, 2016

Photos courtesy of Brian C. Reilly | www.briancreilly.com

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Spend the Weekend with M83 at Terminal 5

October 12th, 2016

Anthony Gonzalez has been deftly mixing shoegaze, ambient music and synth pop into his own unique down-tempo sound as M83 for more than a decade. But it wasn’t until the band’s sixth album, the double LP Hurry Up, We’re Dreaming (stream it below), anchored by megahit “Midnight City,” that M83 (above, doing “Go!” on Later … with Jools Holland) became a worldwide phenomenon. And after extensive touring (and soundtrack scoring) followed by some time off, Gonzalez and M83 returned this year with Junk (stream it below). “Much like Daft Punk’s Random Access Memories, Junk looks back in a way that’s so accomplished that it’s difficult to call it a retreat,” per AllMusic. Instead, it feels like a reminder that Gonzalez is dedicated to making music on his own terms, even if the results are polarizing. While all listeners may not share his fascination with ’80s pop culture detritus, it’s hard not to respect how expertly he transforms it into something genuine. ” And according to Pretty Much Amazing, it “doesn’t profess to be some magnificent statement about the human condition—it ends any such speculation with its title.… And that’s OK. Muppets in Space album cover aside, Gonzalez has still left plenty on Junk for his merry usual band of misfits—the lovers, the dreamers, and him.” Of course, the best way to experience M83 remains live, and to that end, you can see them on Friday and Saturday at Terminal 5. Pop singer-songwriter Shura opens both shows.

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Three Nights of M83

October 1st, 2012

To some, M83 has always had an uncanny resemblance to the John Hughes classic The Breakfast Club. This has nothing to do with the aesthetic reality that the band plays music with influences from the enormous synthesizers that so dominated mid-1980s pop music. Frontman Anthony Gonzalez possesses a knack for distilling human experience down to one frozen moment: a fist raised against a cloudy sky, a human story of difference and commonality, to say everything all at once, a frozen slice of self-actualization. Gonzalez’s gift for this type of tableau universality emerged immediately, taking the stage in full costume of the band’s creepy cover art from 2011 double LP Hurry Up, We’re Dreaming and its smash hit, “Midnight City” (performed, above, on Last Call with Carson Daly). Tomorrow’s show is sold out, but you can see M83 play Hammerstein Ballroom on Wednesday and The Wellmont Theatre on Thursday. —Geoff Nelson

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The Affirmations of M83

May 11th, 2012

M83 – Terminal 5 – May 10, 2012


To some, M83 has always had an uncanny resemblance to the John Hughes classic The Breakfast Club. This has nothing to do with the aesthetic reality that the band plays music with influences from the enormous synthesizers that so dominated mid-1980s pop music. Frontman Anthony Gonzalez possesses a knack for distilling human experience down to one frozen moment: a fist raised against a cloudy sky, a human story of difference and commonality, to say everything all at once, a frozen slice of self-actualization. Gonzalez’s gift for this type of tableau universality emerged immediately, taking the stage in full costume of the band’s creepy cover art from 2011 double LP Hurry Up, We’re Dreaming. It was doubtful this thing, somewhere between Donnie Darko and Maurice Sendak, was Gonzalez himself (he took the stage far too quickly after the bit of theater concluded) as the character, creepy and triumphant, slowly raised his arms in a crosshatch between invocation and professional wrestling introductory pageant.

The creature departed and the band took the stage as the opening notes of “Intro” leaked from the speakers. It was simple: Bring your cover art onstage in full dress, play the first song from your most recent record—form meets function. Now everybody freeze. Some in the crowd turned to their phones starting a brief but erroneous Twitter rumor that Zola Jesus, who sings on the album version of “Intro,” was in the house and singing the hook. M83, unwitting to this secondary narrative, ran through the enormous “Teen Angst” and “Graveyard Girl,” both of which possess an even more affirming quality with live drums and, at high volume, an urging to stop commenting and simply experience.

The middle of the set slowed as Gonzalez effusively thanked the audience in his French-accented impeccable English. The band played “Reunion” and “Wait,” the latter featuring an enormous duet between Gonzalez and his female keyboardist. Everything stopped for a moment. This was what the audience wanted. Next was “Midnight City,” a song with no more than four serious notes, which appeared to lift the crowd toward the top of the room, snapping digital images against the blinking stage strobes, an attempt to save this and keep it, an aperture big enough to capture the desire to feel this affirmed always. —Geoff Nelson

Photos courtesy of Diana Wong | dianawongphoto.com

(M83 plays Hammerstein Ballroom on 10/2.)