A few reviews, as appears on Rhapsody…
Following breakout Wolfgang Amadeus Phoenix, the Frenchmen turn Japanese (at least on lead track “Entertainment,” which slightly recalls The Vapors’ ’80s hit) and then remind us how French they really are with a song about a men’s fragrance (“Drakkar Noir”). On Bankrupt!, Phoenix maintain that signature mix of fizzy and dreamy electro-pop that titillates as innocuously as a cold soda on a hot day. But this time they sound more on par with brethren Daft Punk: synths packed in tight and injected with caffeine, like on the early-Madonna-esque “Trying to Be Cool” and the sprawling title track.
Yeah Yeah Yeahs, Mosquito
On the YYYs’ fourth album, Karen O sucks your blood, imagines she’s an alien, dreams of being buried alive, and gets caught without her MetroCard. And like a lonely night in the NYC she sings of on the train-track-thumping “Subway,” Mosquito feels dark, menacing and claustrophobic, but never lacking in around-the-corner suspense. The guitar squall of “Sacrilege” swoops up a gospel choir, “Under the Earth” floats on a dub groove, and “Buried Alive” gets Gorillaz-esque with help from Dr. Octagon and producer James Murphy. But dawn nears towards album’s end with a trio of sweet, sizzling ballads.
Youth Lagoon, Wondrous Bughouse
Youth Lagoon’s Trevor Powers is becoming a true prince of oddball solipsistic pop. Building much upon the minimalist sounds of 2011’s The Year of Hibernation, his second album dives into a chaotic world that we can only guess reflects an anxious, possibly tripping-out brain (“The devil tries to take my mind,” he coolly notes on “Mute”). Wondrous Bughouse wobbles in reverb as synths spiral around dizzyingly like a carousel flying off its axle. Every sound feels weightless, yet the overall texture is impenetrable, creating a hypnotic effect like My Bloody Valentine, at a carnival, under the sea.
Wavves, Afraid of Heights
Wavves’ fourth album sounds like the ultimate alt-rock triad of 1994: Weezer, Green Day, Nirvana. Nathan Williams even works a gravelly Cobain snarl on “Dog” and “Demon to Lean On,” where the guitar apes “Lithium” and Williams talks of holding a gun to his head. Other statements: “We’ll all die alone, just the way we live/ In a grave”; “None of you will ever understand me.” Williams has a great sense of melody, sprinkling in surf touches too (those Beach Boy woos), but his music stays mostly loose and loud to mirror whatever’s going on in that tortured brain. Maybe he should lay off the weed?
Blue Hawaii, Untogether
The Aloha State really should give this Montreal duo a cut: After taking in Blue Hawaii’s serene tropical pop, you’ll want to book a flight there stat, if only to have Untogether, their debut album, as your accompanying soundtrack. Lounge-y drum machine beats plop throughout, like droplets of water hitting sizzling skin; acoustic guitar gently punctuates gorgeous tracks like “Try to Be”; and synths flutter in and out like the sun playing peek-a-boo through the palm trees. Vocalist Raph Standell-Preston (also of Braids) guides it all along with hypnotic purrs as pure and sweet as sugar cane.
Foxygen, We Are the 21st Century Ambassadors of Peace and Magic
Like retro psych-pop bands Tame Impala, Ariel Pink and MGMT, the music of Foxygen feels as cozily familiar as a pen pal from an exotic land you’ll never visit. The duo’s second album opens like Sgt. Pepper in a pub and ends like Abbey Road in a windstorm; “No Destruction” hints of The Velvet Underground; “Shuggie” emulates Bowie; and, generally, singer Sam France has Mick Jagger’s snarl down. To fit the vintage palette, there’s talk of pot, doors of consciousness and San Francisco, but perhaps the best, most timeless line is, “There’s no need to be an *sshole/ You’re not in Brooklyn anymore.”