• Record Label: Republic
  • Release Date: Feb 18, 2014
Metascore
74

Generally favorable reviews - based on 23 Critic Reviews

Critic score distribution:
  1. Positive: 16 out of 23
  2. Negative: 0 out of 23
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  1. Entertainment Weekly
    Feb 20, 2014
    91
    [Songs like} "Fall in Love" and "Howling at the Moon" sound downright ferocious without sacrificing the gauzy, lovely ache at Voices' center. [21 Feb 2014, p.64]
  2. Alternative Press
    Feb 20, 2014
    90
    Phantogram's electronics and electric guitar alchemy has simultaneously become more infectious and complex than ever before. [Mar 2014, p.93]
  3. Feb 18, 2014
    85
    Voices is one of the most exciting sad albums I’ve encountered in a while. And it triumphs in that space in between.
  4. Feb 20, 2014
    84
    Sarah and Josh have created a very well-written balance between depth and melody that sets them apart from many pop acts that are around today.
  5. Feb 18, 2014
    80
    With their newest album the New York based duo have turned from a promising indie-rock group into a full-fledged, ass kicking, genre-mashing superhero team.
  6. Feb 18, 2014
    80
    Voices flaunts the duo's expanded range.
  7. Feb 19, 2014
    75
    Phantogram shows a marked improvement in song conceptualization with Voices. Less fat goes a long way for the kind of weight this duo brings to each track.
  8. Feb 18, 2014
    75
    Voices is a huge step forward for the band, one that smartly amplifies its atmospheric gifts through the lens of worthy songs.
  9. 75
    Voices marks a more complete work from a duo fully in sync; in their element.
  10. Jun 25, 2014
    70
    It’s definitely an accomplished one with plenty to recommend in its sonic traits.
  11. For a band as talked about as they are, Voices needed to be a lot better. For now, it’s just okay.
  12. Feb 18, 2014
    70
    Their latest album, Voices, showcases more maturity and focus than their previous work.
  13. Feb 18, 2014
    70
    There’s nothing as immediately grabbing here as the irresistible “When I’m Small” from “Eyelid,” and dancefloor imperatives are in lesser supply, but it’s a deficit made up for by deceptively sanguine, slowly evolving tracks like “Bill Murray,” which borrows some of the actor’s sage knowingness for its tenor.
  14. Feb 18, 2014
    70
    Voices is filled with catchy, emotion-packed songs that will sound great booming out of radio speakers, soundtracking late nights spent alone and wondering, and anytime some really powerful modern pop is needed.
  15. Mar 12, 2014
    67
    "Bill Murray" and "Never Going Home" truly drop the screen for the vocalists, both as sparse as Phantogram will venture, and still entrancing.
  16. Feb 20, 2014
    67
    Slighting a group for sounding “too much like themselves” is a difficult proposition, but the moments where the songwriting or musical performances defy and exceed expectations demonstrate that the true talent of the group may lay somewhere beyond their comfort zone.
User Score
8.5

Universal acclaim- based on 49 Ratings

User score distribution:
  1. Positive: 44 out of 49
  2. Negative: 0 out of 49
  1. Oct 12, 2014
    6
    Though musical acts consisting of one man and one woman—one Adam (producer) and one Eve (lead vocals), ahem—are sprouting out in the indie-popThough musical acts consisting of one man and one woman—one Adam (producer) and one Eve (lead vocals), ahem—are sprouting out in the indie-pop industry like poison ivy on an abandoned farmland, latching onto whatever audience they come upon, and selling out like cigarettes at a Kentuckian Pilot station—if you're from Kentucky, you'll understand what I mean—Phantogram have fortunately managed to develop and establish a signature sound that's actually quite unique and even successful without sounding the least bit insincere. It's no Crystal Castles as far as ambition goes, but it certainly earned them an audience that's not there for a millisecond and gone in another. What does that mean for their second studio album Voices?

    Phantogram—Sarah Barthel and Josh Carter—didn't actually capture my attention until years after their 2009 debut album Eyelid Movies came out. But once a friend of mine introduced me to "Futuristic Casket", I immediately searched them up on Spotify and felt a warmth in their melancholy melodies, sample-heavy production, and Barthel's safe yet soothing voice. It's not as if I became a complete believer in their material and praised it to the highest Heavens of them all. It's not revolutionary and it's not at Arcade Fire's height of hype, but that's exactly why it caught my eye for at least a moment: Phantogram aren't trying to break ground on a surface of music that's already been broken to pieces, they're just creating very, very endearing art that seems sincere to them. That means a lot to me and I wouldn't want anything more.

    Voices on the other hand, it's an, albeit faulty, attempt at building on top of their previous endearments and simultaneously making it more accessible. That's not a crime on their behalf—in a market dominated by duos and trios like Crystal Castles, CHVRCHES, Haim, and many more, why not take advantage of that dominance and cash in on it yourself? Lead single "Fall in Love" differs from CHVRCHES' 2012 breakout single "The Mother We Share" in sound, but it's simultaneously established and effective on both paper and presentation. The Flaming Lips' Steven Drozd contributes to "Never Going Home" to craft one of the record's most memorable tracks, an indie-rock anthem to Phantogram's fullest.

    But where Voices falls, it's not dramatic more than it is disappointing. Though it's natural to eliminate and re-establish certain qualities into an artist's creation over time, Phantogram have removed a fair percentage of their charm by relying less on samples and more on glamorizing themselves to fit in with the 'cool' kids and the 'weird' kids. Truth is, however, not a lot of Voices is all that memorable. It's quiet and instead of ingraining itself into your eardrums with the same effectiveness of their last album or lead single "Fall in Love", it insists on layering itself into the back of your mind, but leaving no room in the forefront for the listener to latch to. It's not shoegazing when your melodies become dull halfway through and Barthel's limited vocal range certainly doesn't have the strength to support it up. None of Voices sounds even remotely below-mediocre at worst and there are good songs here; the glimmers of Barthel and Carter's maturity and ever-growing sound haven't vanished. My issue with Voices isn't that negative and it's actually pretty biased and simple: it just could've been better.
    Full Review »
  2. Mar 30, 2014
    7
    A very good, new group that I just discovered. I love their sound, their vibe. I don't even think there is one song that I didn't like off ofA very good, new group that I just discovered. I love their sound, their vibe. I don't even think there is one song that I didn't like off of this album! I liked each and everyone, and none more than the other. It is a hard sound to express into emotions. Another listen, and I will have it down! Full Review »
  3. Apr 14, 2016
    7
    I'm glad I stumbled upon Phantogram. Their music is immediately engaging without sounding too cliche, and I think they bring a nice creativeI'm glad I stumbled upon Phantogram. Their music is immediately engaging without sounding too cliche, and I think they bring a nice creative use of texture to electropop, while so many other acts just use a ton of synthesizers. The opening song is a perfect example of why I love their sound. The distorted guitars, trip hop beats, and fragile vocals make for a perfect combo, and overall that whole style makes this album such a treat to listen to. Now, there are a few weaker tracks on here, so it's certainly not a perfect album, but there are some truly great moments and awesome hooks that really have me looking forward to hearing what they do next.

    Standout tracks: Nothing But Trouble, Black Out Days, The Day You Died, Howling at the Moon
    Full Review »