download free mp3 m83 hurry up, we're dreaming album Download Hurry Up, We're Dreaming. M83's lush, expansive sound already made their albums feel twice as big as they were, so an actual double album from Anthony Gonzalez and company was inevitable. However, on Hurry Up, We’re Dreaming, he doesn’t use that extra space to top the widescreen nostalgia of Saturdays = Youth; instead, he fills it with songs that cover more sounds and moods than any of M83's previous work, resulting in a collection of impressionistic moments rather than a grand statement. The album begins with two songs that reaffirm Gonzalez's flair for the unapologetically epic music that makes him a rarity among artists in the 2010s, electronic or otherwise. He recruits Zola Jesus' Nika Roza Danilova for “Intro,” and her unusual mix of frostbitten edge and vulnerable warmth channels the huge emotions Gonzalez favors perfectly. Meanwhile, “Midnight City”’s sleek neon tones show just how far he’s traveled from Saturdays = Youth’s ornate sound. However, the album’s first disc goes even farther afield with the tender piano instrumental “Where the Boats Go”; “Raconte-Moi Un Histoire,” where a child imagines a world where everyone turns into jungle frogs over bouncy synths and guitars, and “Soon, My Friend,” which ends the first half of the album with symphonic grandeur and Beach Boys harmonies. Hurry Up, We’re Dreaming's second disc sounds more traditionally M83, from the triumphant-yet-heartbroken “My Tears are Becoming a Sea” to the thrilling rush of “New Map” and “Steve McQueen.” Despite the sprawl of the album’s size and sounds, Gonzalez holds everything together with wide-eyed enthusiasm. He handles most of the vocals here, singing with a yelp that evokes Howard Jones on “Reunion” and “OK Pal” -- and while this album is as indebted to the ‘80s as Saturdays = Youth was, it somehow feels less steeped in nostalgia. Gonzalez displays his uncanny knack for making unfashionable sounds fresh again with “Claudia Lewis”' un-ironic slap bass and “Splendor”'s children’s choir; it takes guts to use these sounds and brains to use them well, and fortunately, he has both. Unlike Saturdays = Youth's wall-to-wall epics, Hurry Up, We’re Dreaming offers ebb and flow, with interludes like the dreamy “Echoes of Mine” and “Klaus I Love You” tipping the album’s balance toward atmosphere instead of pop songs. More than any of M83's other albums, Hurry Up, We’re Dreaming feels like a destination to explore; while it may not be quite as striking as Saturdays = Youth, it delivers a welcome mix of classic sounds and promising changes. M83 - Hurry Up, We're Dreaming [2CD Set] (2011) [CD-Rip] Artist : M83 Title : Hurry Up, We're Dreaming Year Of Release : 2011 Label : Mute [9510-2] Genre : Dream Pop, Synth-pop, Alternative Quality : FLAC (tracks+.cue,log,scans) Total Time : 1:13:33 Total Size : 584 mb WebSite : Album Preview. Disc 1: 01. Intro 02. Midnight City 03. Reunion 04. Where the Boats Go 05. Wait 06. Raconte-Moi Une Histoire 07. Train to Pluton 08. Claudia Lewis 09. This Bright Flash 10. When Will You Come Home? 11. Soon, My Friend. Disc 2: 01. My Tears Are Becoming a Sea 02. New Map 03. OK Pal 04. Another Wave from You 05. Splendor 06. Year One, One UFO 07. Fountains 08. Steve McQueen 09. Echoes of Mine 10. Klaus I Love You 11. Outro. Hurry Up, We're Dreaming. M83's lush, expansive sound already made their albums feel twice as big as they were, so an actual double album from Anthony Gonzalez and company was inevitable. However, on Hurry Up, We’re Dreaming, he doesn’t use that extra space to top the widescreen nostalgia of Saturdays = Youth; instead, he fills it with songs that cover more sounds and moods than any of M83's previous work, resulting in impressionistic moments that add up to a grand statement. The album begins with two songs that reaffirm Gonzalez's flair for the unapologetically epic. He recruits Zola Jesus for "Intro," and her unusual mix of frostbitten edge and vulnerable warmth is a perfect conduit for the huge emotions Gonzalez favors. With its sleek neon tones, "Midnight City" shows just how far he's traveled from Saturdays = Youth's ornate sound. He goes even farther afield with the tender piano instrumental "Where the Boats Go"; "Raconte-Moi Un Histoire," where a child imagines a world where everyone turns into jungle frogs over bouncy synths and guitars; and "Soon, My Friend," which ends the album's first half with symphonic grandeur and Beach Boys harmonies. On its second half, Hurry Up, We’re Dreaming sounds more traditionally M83, from the triumphant yet heartbroken "My Tears Are Becoming a Sea" to the thrilling rush of "New Map" and "Steve McQueen." Despite the album's sprawl, Gonzalez holds everything together with wide-eyed enthusiasm. He handles most of the vocals here, singing with a yelp that evokes Howard Jones on "Reunion" and "OK Pal" -- and while this album is as indebted to the '80s as his previous album was, it somehow feels less steeped in nostalgia. Gonzalez displays his uncanny knack for making unfashionable sounds fresh again with "Claudia Lewis'" un-ironic slap bass and "Splendor'"s children’s choir; it takes guts to use these sounds, and brains to use them well, and fortunately, he has both. Unlike Saturdays = Youth's wall-to-wall epics, Hurry Up, We’re Dreaming ebbs and flows, with interludes like the dreamy "Echoes of Mine" and "Klaus I Love You" tipping the album’s balance toward atmosphere instead of pop songs. More than any of M83's other albums, Hurry Up, We’re Dreaming feels like a destination to explore, and its retro-futuristic ambition helped set the tone for synth pop in the 2010s. Hurry Up, We're Dreaming. Since 2003's Dead Cities, Red Seas & Lost Ghosts, M83 mastermind Anthony Gonzalez has created increasingly colossal records. His latest, a double album that serves as a framework to realize the marvelous capability of our dreams and daily lives, could be his best record yet. Late last year, Anthony Gonzalez announced his next album was almost complete and would be "very, very, very epic." With all due respect, consider the redundancy of that statement: Since 2003 breakthrough Dead Cities, Red Seas & Lost Ghosts , every new and increasingly colossal M83 studio record has led to widespread crowdsourcing of synonyms for "epic." What exactly was he promising other than simply another album? Well, throughout the past decade, the 30-year old Gonzalez has honored the tremendous impact of growing up during the golden age of CD buying by implicitly serving as a patron saint for those who treat the weekly trip to the record store as a pilgrimage and still covet the album as a physical proposition: His output always comes stylishly packaged, with cover art worth obsessing over and credits that need to be scoured in order to spot the guest appearances. Unsurprisingly, he ups the ante here by aspiring to what is still the paradigm of artistic permanence, both in terms of legacy and tactility: the double album, that occasionally ambitious, usually decadent, and almost always fascinatingly flawed endeavor of musicians convinced (rightfully or otherwise) that they're at the peak of their own powers. Hurry Up, We're Dreaming might be all of those things, but above all else, it's the best M83 record yet. But let's talk about restraint for a moment: While each side of Hurry Up would be oddly slight for an M83 album, the demands of its 74-minute runtime are hardly daunting. It's actually the easiest M83 album to consume in one sitting, a reverse accumulation of past strengths that makes for Gonzalez's most compact and combustive music yet. He continues the path set by Saturdays=Youth by easing out of the mini-movie business in exchange for pop songcraft, while trading that LP's pretty-in-pink pastels for the urban neons and fluorescents of Before the Dawn Heals Us and embodying Dead Cities ' mile-wide expansiveness. But the most crucial change is how touring with the likes of Depeche Mode has inspired a newfound showmanship in his vocals: Previously, Gonzalez enlisted outside help, piped in plot-advancing narratives, or sang in a low, tentative murmur that submitted to its massive surroundings. But here, within the first minutes of "Intro", he's matching blows with the juggernaut bellow of Zola Jesus' Nika Danilova to the point where it's much tougher than you'd think to tell them apart. It's really not too different from the first chords of "Planet Telex" or Lil Wayne's "Tha Mobb" in terms of being an unmistakable sign that you're going to be listening to this familiar act differently. M83 have never stood for half measures in any aspect, but Gonzalez is absolutely going for it here in a way that sheds new light on known tricks: The hair-triggered drum rolls of "New Map" recall Before the Dawn 's searing car-crash fantasy "Don't Save Us From the Flames", but Gonzalez's nervy punctuation at the end of each line sells the idea that he's along for the ride this time rather than being a passive observer. Dead Cities ' "In Church" was the sound of blissful acquiescence, but amidst the swaggering synth-metal of "Midnight City", Gonzalez hollers, "The city is my church!" empowered and present, finding a voice for the evangelical zeal always implicit in his work.