After spending years creating the grand statements of
Junk and the music for
Cirque du Soleil's show
Volta,
M83's
Anthony Gonzalez recharged with a pair of more personal projects that arrived in 2019. The first was his equally romantic and unsettling score for
Knife + Heart, his brother
Yann Gonzalez's late-'70s erotic thriller. The second was
DSVII, which appeared more than a decade after his first collection of instrumentals,
Digital Shades, Vol. 1. As on the first volume,
Gonzalez lets his music run free on
DSVII, unfettered by pop structures or anyone else's expectations. And, like
Knife + Heart, this album is a reminder that his passion for pop culture doesn't start and end with the '80s. Some of the more wistful tracks here, such as the aptly named "A Bit of Sweetness" and "Feelings," feel like organic outgrowths of
Knife + Heart's mix of sentimental '70s pop and giallo moods.
Gonzalez also pays homage to some of the era's synth innovators; in particular,
Mort Garson's warmth, mysticism, and endearing melodies pop up on "A Taste of the Dusk" and "Lunar Son." Later on
DSVII,
Gonzalez returns to the vintage TV music he explored on
Junk. With their easygoing flutes, pianos, and harmonicas, "Meet the Friends" and "A Word of Wisdom" could be theme songs for shows that never aired. While there are plenty of intimate moments on
DSVII, the album gives equal time to
M83's majestic side.
Gonzalez taps into the storytelling and mythmaking powers of sci-fi movie and video game scores on "Hell Riders," which builds from gentle drones to towering choral vocals, synths, and drums, and on the brisk "Lune de Fiel," which nods to jazz and prog with its intricate lead melody. When the album closes with the fanfares of "Oh Yes You're There, Everyday" and the solemn "Temple of Sorrow,"
DSVII concludes a journey that's filled with as much wonder as any of
M83's full-fledged releases. It's a soothing and inspiring listen, especially for fans who love vintage sounds and period details as much as
Gonzalez does. ~ Heather Phares
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