The album’s origins lay in Anthony Gonzalez’s move from Paris to Los Angeles around the turn of the decade. After M83’s fifth studio album Saturdays = Youth made waves in the US’s indie scene, the hype had been steadily building for three years –especially with the heavy amount of press from major indie publications (including this one), French neighbors Phoenix becoming a household name in America, and the slow rise of what was then called “hipster” culture.
Meanwhile, Gonzalez turned 30 throughout the recording of Hurry Up, and those feelings of forgotten youth began to make their way into the content.
Saturdays = Youth’s blend of ’80s new wave, dream pop, and early shoegaze was a major factor in its success, and those qualities were put in even larger focus on Hurry Up, We’re Dreaming. As Gonzalez began to dabble in scoring films around 2010, the emphasis on making music that was unapologetically cinematic was speaking to him and audiences everywhere. Everything about Hurry Up had to be epic, widescreen, and ambitious — hence its arriving as a double album with a whimsical, almost utopian title.
The album’s origins lay in Anthony Gonzalez’s move from Paris to Los Angeles around the turn of the decade. After M83’s fifth studio album Saturdays = Youth made waves in the US’s indie scene, the hype had been steadily building for three years –especially with the heavy amount of press from major indie publications (including this one), French neighbors Phoenix becoming a household name in America, and the slow rise of what was then called “hipster” culture.
Meanwhile, Gonzalez turned 30 throughout the recording of Hurry Up, and those feelings of forgotten youth began to make their way into the content.
Saturdays = Youth’s blend of ’80s new wave, dream pop, and early shoegaze was a major factor in its success, and those qualities were put in even larger focus on Hurry Up, We’re Dreaming. As Gonzalez began to dabble in scoring films around 2010, the emphasis on making music that was unapologetically cinematic was speaking to him and audiences everywhere. Everything about Hurry Up had to be epic, widescreen, and ambitious — hence its arriving as a double album with a whimsical, almost utopian title.
I just had a milestone birthday. So I've been thinking about age a lot lately. Billie Eilish is 19. The effing B. I was thinking, she's gotta be pushing 30 by now, right? 25 at least? She's 19.
The album’s origins lay in Anthony Gonzalez’s move from Paris to Los Angeles around the turn of the decade. After M83’s fifth studio album Saturdays = Youth made waves in the US’s indie scene, the hype had been steadily building for three years –especially with the heavy amount of press from major indie publications (including this one), French neighbors Phoenix becoming a household name in America, and the slow rise of what was then called “hipster” culture.
Meanwhile, Gonzalez turned 30 throughout the recording of Hurry Up, and those feelings of forgotten youth began to make their way into the content.
Saturdays = Youth’s blend of ’80s new wave, dream pop, and early shoegaze was a major factor in its success, and those qualities were put in even larger focus on Hurry Up, We’re Dreaming. As Gonzalez began to dabble in scoring films around 2010, the emphasis on making music that was unapologetically cinematic was speaking to him and audiences everywhere. Everything about Hurry Up had to be epic, widescreen, and ambitious — hence its arriving as a double album with a whimsical, almost utopian title.
For my money, "Wait" is just about the most gorgeous headphone song ever recorded.
Re: Music talk Thread
Posted: October 19 21, 11:49 am
by Radbird
I like the Midnight City/Reunion/Wait video trilogy.
Re: Music talk Thread
Posted: October 19 21, 12:23 pm
by BottenFieldofDreams
I've never watched these videos. Very cool. I should revisit that era of 'indie', as at the time I hated the shift to 80s synth (though really those synths are much richer and warmer than harsh 80s synths). I've developed more of a tolerance.
Anyway, I need to get over my synthphobia--I'm missing out on stuff. Check out this song (I got it from the Todd in the Shadows videos Michael shared). Beautiful song, catchy pop, marvelous guitar work--forgivable synth, all from a band I'm only familiar with as a punchline:
I've never watched these videos. Very cool. I should revisit that era of 'indie', as at the time I hated the shift to 80s synth (though really those synths are much richer and warmer than harsh 80s synths). I've developed more of a tolerance.
Anyway, I need to get over my synthphobia--I'm missing out on stuff. Check out this song (I got it from the Todd in the Shadows videos Michael shared). Beautiful song, catchy pop, marvelous guitar work--forgivable synth, all from a band I'm only familiar with as a punchline:
First, that is a great song, and it sounds like it could come out today and be a hit.
And then I was thinking "man, this sounds JUST like a song that was pretty big just a few years ago." And I was racking my brain trying to come up with what it was, and it was so satisfying when I did finally crack it. TELL ME these two songs don't sound very, very much alike, especially by the chorus.
Re: Music talk Thread
Posted: October 20 21, 11:29 am
by mikechamp
Speaking of songs that sound alike, what (more recent) song do you hear when you hear the first 30 seconds of this song (from 2011):