Album: Phoenix – Wolfgang Amadeus Phoenix

ALBUM REVIEW: Phoenix – Wolfgang Amadeus Phoenix
Words: Gareth O’Malley

My word, this album’s release could not have been timed more perfectly. A summer album if ever there was one. Phoenix are one of the bands that rose to prominence in the so-called ‘French Invasion’ of the early 2000s, along with Air and Daft Punk, although I wouldn’t say that the alternative rock group, consisting of Thomas Mars on vocals, bass player Deck D’Arcy and guitarists Laurent Brancowitz and Christian Mazzalai, have much, if anything, in common with the aforementioned bands. Instead, Phoenix sound much more like dance music for architects. They could be accused of writing songs that sound too clean and defined, but they do what they do really well.

We’re thrown right into things with the album’s first physical single, the brilliant ‘Lisztomania’. Mars doesn’t really have much of an accent, but his voice could be considered an acquired taste. “So sentimental? Not sentimental, no/Romantic? Not discussing it,” he yelps, over pounding drums and breezy piano.

The production on Wolfgang Amdeus Phoenix is incredible – by the end of the first track, that much has become clear. The sound is very textured and layered, but not once during the album does it become cluttered, and that’s one of this album’s strengths. Also deserving of a plus point is the band’s ability to write hooks. ‘1901′ is a case in point. Released as a free download on the official site back in February, I cannot think of a track more deserving of the award for Pop Song of the Year.

‘Fences’ is a more laid-back affair than the two songs that precede it. The verses are carried by an acoustic guitar, and the song boasts an infectious chorus, handclaps and all. Just as the song takes an unexpected turn and the drums take centre stage, it fades out, which is a real shame, as I would have loved to hear what became of the final part of the song.

Album centrepiece ‘Love Like A Sunset’ is split into two parts. Almost entirely instrumental, it is a song that requires patience. Around two-and-a half minutes in, Foals-esque guitars enter as the song builds from subdued beginnings. There is some rather pointless meandering around the midway point of the track, before the drums come in. Soon, the synths herald part 2. An acoustic guitar arrives, and the song is transformed. To sum it all up, I would say this is a Sigur Rós-gone-dance track. An astonishing song, but, again, patience is required.

‘Lasso’ is a song held together by the rhythm section, a song in which Mars reckons that “you don’t realise what you say yes to”, before a brilliant bass part comes in. The song has ’single’ written all over it.

I would have been delighted if the album had been able to maintain the same level of quality throughout. Unfortunately, this isn’t the case, as ‘Rome’ and ‘Countdown (Sick For The Big Sun)’ are a tad unremarkable. However, the band are soon back on form with ‘Girlfriend’. The production once again shines through, as the delightful penultimate track coasts along, before drawing to a satisfying conclusion.

‘Armistice’ wraps things up nicely – the guitar work during the verses reminds me of Bloc Party. Probably the second most immediate track on the album behind ‘1901?, it takes a detour of sorts after the second verse – yes, there is some organ in there. A short reprise of the main riff, and we’re done.

Some may find the production of ‘Wolfgang Amadeus Phoenix’ to be a little off-putting, but I think it lends itself to the songs extremely well. A slight sag in the middle of the album spoils things a little, but the high points of the album more than make up for that section’s shortcomings. A highly enjoyable listen, and an album that really should bring these guys into the wider public eye. Dance-pop album of the year? I would not bet against it.

8.6

mp3: Phoenix – 1901 (zShare)

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