After the success of their glorious debut, 'Eyelid Movies', with its effortless blending of a multitude of genres, beautiful vocals and impeccable production, Sarah and Josh's much anticipated return packs such a punch as to be one of the most exciting and original albums of recent years. It is clear that the duo have spent their time carefully annotating their strengths and experimentingAfter the success of their glorious debut, 'Eyelid Movies', with its effortless blending of a multitude of genres, beautiful vocals and impeccable production, Sarah and Josh's much anticipated return packs such a punch as to be one of the most exciting and original albums of recent years. It is clear that the duo have spent their time carefully annotating their strengths and experimenting within vast sonic horizons, which have resulted in some absolutely stunning compositions of great scope and ambition. It is extremely difficult to find fault in 'Voices', which looks as much to the trip-hop scene of Portishead and Massive Attack as to the screeching guitars and experimental electronics of OK-Computer-era Radiohead. That being said, what Phantogram show more than anything in their sophomore effort is absolute originality. And the effect is breath-taking.
1. Nothing But Trouble - 10/10 - A truly mesmerising four minutes packed with constant excitement and the ability to suddenly transcend into something completely different but equally invigorating. The infectious hip-hop beats carried throughout the track build up to an explosive climax of screeching guitar. 'Nothing But Trouble' is refreshing, enthralling and stands completely on its own in the world of modern alternative music.
2. Black Out Days - 10/10 - A lyrical masterpiece expertly layered with throbbing synths, pulsating beats and some of vocalist Barthel's strongest vocals to date. The arrangements work beautifully, from start to finish. 'Black Out Days' possesses dark, twisted suspense, and dynamics on a stratospheric scale.
3. Fall In Love - 10/10 - Initially disregarded by Carter as an unremarkable work in progress, through Barthel's encouragement, this elegant blend of samples from a Motown classic with ultra-modern electro-beats works surprisingly well. An absolute stand-out, which deservedly brought the duo widespread attention and acclaim. Truly brilliant.
4. Never Going Home - 9/10 - Here, we as listeners find ourselves transfixed as one of 'Voices' more dramatically sudden and unexpected changes in tempo and genre emerges out of the dramatic void created at the closing of 'Fall In Love'. Carter's vocals prove a welcome, diverting change here, and the presence of The Flaming Lips' Steven Drozd is clear and distinguishable on such a contrasting track.
5. The Day You Died - 9.5/10 - Barthel returns on this spellbinding fifth track, with its heartfelt choruses and welcome addition of melodic guitar, this popular number combines clever arrangements with soaring vocals and excellent production.
6. Howling at the Moon - 9/10 - With potential to be in contention for the greatest track on the entire album, the song's poor opening is all that holds it back. When it flourishes, from the first chorus onwards, Howling at the Moon is excellent. It captivates with its edgy sampling of horror soundtracks, many layers of electronics, guitar and a brilliant beat. Just before the final chorus, the song reaches its remarkable apex.
7. Bad Dreams - 10/10 - Consistency is key in this track, as we progress into the second half of the album. Driven by more faultless vocals and alt-rock guitars, this refreshing track doesn't have to explode to stand out. The closing instrumental sequence is particularly effective, and would be right at home on the soundtrack of an indie-horror movie or television series.
8. Bill Murray - 10/10 - Quite simply, one of my favourite songs since 2000. Sorrowful, gorgeously delivered vocals from Barthel carry this delicate track with its fusion of subtle sampling and soothing guitar melodies. A track which shouldn't be missed or overlooked simply because of its pared-back instrumentation in contrast to the more energetic opening tracks. Lovely.
9. I Don't Blame You - 8.5/10 - Here, despite their welcome, meaningful presence in 'Never Going Home', Carter's vocals suffer slightly, and the track as a whole, though dynamic and undoubtedly epic in its choruses, feels slightly unnecessary, particularly its obscure opening and closing. Nevertheless, like each of the other tracks on the album, the arrangements are faultless.
10 Celebrating Nothing - 9.5/10 - Quality increases again on this effortlessly beautiful penultimate album track, with its guitar-driven choruses and divine vocals from Barthel. The song is more classically catchy than some others on 'Voices', and equally effective.
11. My Only Friend - 10/10 - It would be a real struggle to find a more poignant closing track for 'Voices', and it's clear the duo have placed a great deal of care into tastefully closing an almost-perfect sophomore effort. The dramatic building of the initially softer 'My Only Friend', with emotion carved into every individual word, is admirable. And Sarah Barthel's vocal performance is yet again outstanding.
It's a stunning return for a duo who have truly distinguished themselves from the rest of the crowd. Outstanding. I can't wait to hear more.… Expand
VoicesYour Score0 out of 10User Score
