Sounding much more like a breezy U.S. college band (think Vampire Weekend) than, say, France’s Daft Punk, French rock band Phoenix have nailed their sound down after more than a decade of permutation. For all the lofty, European implications of the record’s title, the most salient feature of these songs is the accessible, radio-friendly pop tones throughout, from the bubbling opener “Lisztomania” to the galloping “Lasso” and the slightly anthemic “Countdown.” Both the opening track and the single “1901” are stellar examples of carefree, buoyant pop, full of snapping tom drums, percolating guitars and melodic hooks. Frontman Thomas Mars’ vocals are as focused and endearingly catchy as Emanuel Lundgren’s of I’m From Barcelona, or Britt Daniel’s of Spoon, and are an essential part of the band’s appeal. With clean and crisp lines, Wolfgang Amadeus Phoenix is a snapshot of a band coming together, exceeding expectations, and reveling in the wonderment of it all.
…Ridiculousness is much harder to stomach in words than it is in music, but the nice thing about Day & Age is that not only is Flowers' voice relatively buried, The Killers are unwittingly comfortable with their ludicrous, outsized pop, which turns the album into terrifically trashy pop. Not the serious rock they yearn to be by any means, but these fashionable threads fit them better anyway.
Their name come from one of wrestler Jeff Hardy's dangerous moves, this band couldn't really look or sound any less pugilistic. Skinny and befringed, and with brittle and wordy songs like Sorrysayer and Shock, the Londoners are making a role for themselves as something like a British Vampire Weekend. Formed around the core duo of Dominic McGuinness and Brendan Heaney, their early shows apparently showcased a rowdier and more abstract version of themselves, which should serve them well as they venture out with the heavier Threatmantics and Video Nasties.
…Ridiculousness is much harder to stomach in words than it is in music, but the nice thing about Day & Age is that not only is Flowers' voice relatively buried, The Killers are unwittingly comfortable with their ludicrous, outsized pop, which turns the album into terrifically trashy pop. Not the serious rock they yearn to be by any means, but these fashionable threads fit them better anyway.