M83 today shares “Temple of Sorrow,” the initial offering from the long-anticipated DSVII, out September 20 via Mute. DSVII is the successor to 2007’s Digital Shades Vol. 1. Pre-order here.
Accompanying this new song is the first installment of Extazus a three-part short film inspired by the music of DSVII and helmed by French experimental director Bertrand Mandico. Additional installments will be released weekly ahead of DSVII’s release. Watch here.
In addition to the CD digipak and digital formats of the record, DVSII will be released as a limited pink galaxy double vinyl edition that is housed in a gatefold sleeve.
Mute and SONOS are thrilled to partner for an exclusive first listen of DSVII on September 9 at SONOS’s New York City storefront. The event is open to the public. Guest will experience the album and its accompanying short film, Extazus, before the rest of the world. Refreshments will be available while supplies last. The listening party takes place from 7:30-9:00pm at 101 Greene Street, New York, NY. Further details and RSVP link available here.
M83 released Digital Shades Vol. 1 in 2007 as a compendium of unused ambient tracks for diehard fans to enjoy rather than letting these works disappear into the void. It was a way to breathe life into songs that normally would not see the light of day as well as a vehicle for Gonzalez to explore areas of musical creativity separated from the pop-leaning M83 studio albums. Gonzalez credits Brian Eno’s ambient collections as a primary inspiration for the creation of the Digital Shades series.
Now, more than a decade later, M83 has returned with the latest installment of Digital Shades – one that adopts a grander nature and seeks to transport listeners to another time and place entirely. DSVII is influenced heavily by early ‘80s sci-fi/fantasy films including The NeverEnding Story, Phantasm and In The Mouth of Madness as well as analog synth pioneers such as the aforementioned Brian Eno in addition to Suzanne Ciani, Mort Garson and John Carpenter.
DSVII was created using analog equipment only. It was recorded during the fall of 2017 and spring of 2018 at Gonzalez’s Los Angeles studio as well as the Glendale, California studio of Justin Meldal-Johnsen (Nine Inch Nails, Beck).
Read the full DSVII bio here.