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Album Review
One of the more radical departures in recent memory, Phantom Planet finds the group turning their backs on the manicured pop of The Guest, which spawned the hit (and theme song for Fox TV's The O.C.) "California", in favour of a sound influenced by trendy, garagey New York bands like the Strokes and French Kicks. Alex Greenwald's formerly earnest croon is now a surly, slurry sneer, and the rest of the band follows suit, adopting a scuzzy sound as effortlessly as putting on battered jean jackets and skinny ties. Phantom Planet's production is particularly striking, and strange: its cheap, compressed sound seems like it should be the work of someone like Strokes producer Gordon Raphael, but it's actually sonic mastermind Dave Fridmann behind the knobs. Phantom Planet works especially well when the band hangs on to the melodic sensibilities that made The Guest's best moments memorable: "The Happy Ending" kick starts the album with equal amounts of pummelling drums and bittersweetly ragged vocals; "1st Things 1st" is a model of aggressive, economical melody; and "The Meantime" rivals almost anything that appeared on Room on Fire. But while songs like "Badd Business" and "Jabberjaw" might be tighter and rock harder than their previous work, it's at the price of the melodies that used to be the band's strongest asset. These melodies return on the second half of Phantom Planet, which is nearly as pretty and atmospheric as the first half is raucous and dense. --Heather Phares, All Music Guide
Description
Self-titled non-debut albums often indicate an artistic transition or rebirth, and PHANTOM PLANET is no exception. For their third album, Phantom Planet shifted gears, trading in the Weezer-inspired power-pop of THE GUEST (and its hit song, "California") for a garage-punk sound that bears the strong influence of the Strokes. Also affecting the band was the departure of their most famous member, drummer and RUSHMORE star Jason Schwartzman, who left during the album's recording sessions. Phantom Planet's musical changes are immediatelyapparent on the opening track, "The Happy Ending," which kicks off like the Knack on speed, with distorted guitars and bass accompanied by a driving drum line. This new fuzzed-out, no-frills edge is present throughout the entire release, produced by Mercury Rev's Dave Fridmann in a hands-off turn that stands in stark contrast to his typically intricate sonic tinkering. Although longtime Phantom Planet fans may require some time to adjust to their new sound, the group stills knows its way around a melody, as revealed on songs such as "By the Bed" and "After Hours."
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