For those that enjoyed the snippet of video at the end of my post about Justice, here's the full version of the video for Birdy Nam Nam's "The Parachute Ending."
"The Parachute Ending" is Complete
Review: Phoenix - Wolfgang Amadeus Phoenix
Phoenix, the French hipster quintet that share the same stomping grounds as international successes Air and Daft Punk, seems to have been on the up-and-up since their debut in 2000, but I had only heard of them in passing until now. With the release of Wolfgang Amadeus Phoenix earlier this year, the band seems to have made quite a splash with singles like "Lisztomania" and "1901," which have both been getting airtime on prime time television as well as the remix treatment from producers all over the world.
Between the snippets of their performance on Saturday Night Live, some remixes by the likes of Andrew Maury from the Remix Artist Collective and Alex Metric, and a few facebook messages (thanks, Helen!), Phoenix quickly became a name that I could no longer ignore. And, I have to say, now that the firey bird has entered my realm of music knowledge and appreciation, I am much better for it. Wolfgang Amadeus Phoenix, although not necessarily groundbreaking, presents a such a wide range of pop hooks that showcase a flexibility that not many other artists seem to have. And, while some of the diversity seems like attempts to emulate other artists, Phoenix still does it well enough to come off as distinctly different and--in some cases--better than their inspirations.
The record kicks off with the 80s sounding lead single, "Listzomania," a song that will have you wondering why this band isn't bigger; that is, if you aren't too busy dancing or wondering why this song hasn't been included in the soundtrack to some generation-defining film already. Thomas Mars' contradictory, angsty, yet substantial lyrics make for a strong song alone, but the bouncing guitar riffs will keep you coming back for a good time.
Similarly, the second single off Wolfgang Amadeus Phoenix, "1901," delivers quite an impact too, only in the form of a more modern dance rock tune. "Fences" then subdues the vocals to a light whimper while highlighting some plunky guitar work remeniscent of early Minus the Bear. Vocals are then taken out completely for the most part of "Love Like a Sunset" (until part 2 strikes up) in exchange for loops of electronic beeps that are paired with traditional instruments, creating a Battles-type vibe; but, Phoenix is much less experimental, and generally more pop focused, with their instrumentation. "Lasso" returns Phoenix back to the more dance-y side of things by bringing a faster tempo and vocals back out in full force, but giving them a Tegan and Sara-esque twist in terms of cadence and intonation. "Rome" continues in this vocal style while also slowing down to a more melancholy pop sound. It actually isn't until the last three tracks of the album that Phoenix starts to shed obvious comparisons and start sounding more distinct.
This lack of distinction is by no means negative though. All of their borrowings and influences seem to flow naturally through the band's dynamic, and no single convention serves to keep the tunes afloat. Phoenix just seems to be toying with established styles and then making them their own, and let me tell you, they are pretty successful at doing this.
As the album title may seem to imply, Wolfgang Amadeus Phoenix is a collection of songs that are classically poppy. Full of emotive, contrary wisdoms, fun choruses, bouncy guitars, and (of course) danceable beats, Phoenix's latest makes for quite and enjoyable listen, even on the 100th playthrough.