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''Dead Cities, Red Seas & Lost Ghosts'' is the second studio album by the French electronic/dream pop group M83. The album was first released in Europe on April 14, 2003, then in North America on July 27, 2004 to positive reviews. The cover art is by Justine Kurland and is called ''Snow Angels''.

The North American pressing of the album comes with a bonus disc, containing five additional tracks, including the title track of the album and a live version of "Gone," as well as the enhanced videos for the singles "Run into Flowers" and "America."

One of the bonus tracks, Cyann & Ben's cover of "In Church," was featured in the 2006 film ''Stranger than Fiction''. "Unrecorded" was used in the theatrical trailer of ''Night Watch''. - Wikipedia

There's nothing wrong with temporarily blurred reason. It can be healthy indeed to get completely out of your gourd, if only to clamber back in with a fresh perspective. There are plenty of musical options to guide you on such a mission; the newest, and among the most immersive, is the debut of Antibes, France duo Anthony Gonzalez and Nicolas Fromageau, AKA M83. Or maybe not so new-Dead Cities, Red Seas & Lost Ghosts was originally issued late last August in Europe. There its glacial drift and thick, buzzy textures acquired a reputation among fans of guitar haze and post-rave synth wash alike: think Sigur Ry Bloody Valentine and Flying Saucer Attack on the one hand, and Boards of Canada, Manitoba and Four Tet on the other.

Or don't think at all. Dead Cities' texture-rubs don't exactly encourage deep analysis. (Well, they do, but in less of a scholarly-exegesis way than of the "what if that dust cloud could swallow us?" variety.) There aren't many vocals here, though occasional utterances like "Give me [unintelligible] some chemicals/ I wanna run with you" ("Run Into Flowers") certainly don't hurt the atmosphere. And Gonzalez and Fromageau strike a nice balance between the quotidian (the low-key percussion and crackling noises of "Gone") and the larger-than-life (the ponderous synth-strings that underpin "On a White Lake, Near a Green Mountain"). But if Dead Cities does precisely what it sets out to do, it's also kind of hard to remember afterward-just like an intense trip, minus the feverish afterglow.

"There's nothing wrong with temporarily blurred reason. It can be healthy indeed to get completely out of your gourd, if only to clamber back in with a fresh perspective. There are plenty of musical options to guide you on such a mission; the newest, and among the most immersive, is the debut of Antibes, France duo Anthony Gonzalez and Nicolas Fromageau, AKA M83. Or maybe not so new-Dead Cities, Red Seas & Lost Ghosts was originally issued late last August in Europe. There its glacial drift and thick, buzzy textures acquired a reputation among fans of guitar haze and post-rave synth wash alike: think Sigur Ry Bloody Valentine and Flying Saucer Attack on the one hand, and Boards of Canada, Manitoba and Four Tet on the other.

Or don't think at all. Dead Cities' texture-rubs don't exactly encourage deep analysis. (Well, they do, but in less of a scholarly-exegesis way than of the ""what if that dust cloud could swallow us?"" variety.) There aren't many vocals here, though occasional utterances like ""Give me [unintelligible] some chemicals/ I wanna run with you"" (""Run Into Flowers"") certainly don't hurt the atmosphere. And Gonzalez and Fromageau strike a nice balance between the quotidian (the low-key percussion and crackling noises of ""Gone"") and the larger-than-life (the ponderous synth-strings that underpin ""On a White Lake, Near a Green Mountain""). But if Dead Cities does precisely what it sets out to do, it's also kind of hard to remember afterward-just like an intense trip, minus the feverish afterglow.

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