Eyelid Movies by Phantogram
LABEL: Ghostly International & Barsuk

The biggest problem with the perfect storm created by the proliferation of cheap and powerful music production software merging with a maturing generation of kids reared on video games and Internet chat rooms is that far too many mildly talented youths feel they can easily produce the next Postal Service record. Armed with a grip of gadgets and music blog buzz, they’ve seemingly forgotten (or arrogantly ignored) the whole raw talent thing that separates music men from music boys.

Phantogram, on the other hand, is one of those rare emerging acts managing to distance themselves from the pack by successfully pairing a host of digital tricks with a solid and thoughtful sonic foundation.

“The duo has called their sound ”˜street beat, psyche pop’ and within seconds of digesting this opening salvo, this self-proclaimed micro-genre classification becomes a lot less annoying because it’s actually 100% accurate.”

Eyelid Movies, the duo’s latest effort, very quickly demonstrates how a couple kids from Saratoga Springs, NY have managed to spend the last couple years rocking favorable opening act gigs for industry mainstays like Zero 7, Brazilian Girls and Yeasayer.

The disc’s opening track, “Mouthful of Diamonds,” jumps to a start by blanketing Sarah Barthel’s confidently soft croon in a blend of punchy hip-hop beats, glittering sirens and an undulating digital hum. The duo has called their sound “street beat, psyche pop” and within seconds of digesting this opening salvo, this self-proclaimed micro-genre classification becomes a lot less annoying because it’s actually 100% accurate.  

Though the album contains a myriad of instruments and a diversity of sounds, beat programming and drums are where Phantogram truly shines—some of Eyelid Movies’ best moments are a result of carefully laid claps, snares and kicks. On “Let Me Go,” one of the album’s most impressive efforts, an insistent staccato thump rules without dominating and rides perfectly alongside vintage spy film guitar riffs and Barthel’s soaring vocals.    

“Eyelid Movies may not ooze hits from start to finish but that certainly doesn’t mean Phantogram hasn’t proven beyond a reasonable doubt that they are far more than your run of the mill purveyors of electro rock.”

Throughout Eyelid Movies, Phantogram happily trades off vocal duties, giving Josh Carter equal shots at rocking the mic. The band’s willingness to share is understandable, but it’s ultimately an ill-advised strategy. Carter’s watery warble in “Running From The Cops” is evidence enough that Barthel is, and needs to remain, the band’s voice of record. 

Eyelid Movies may not ooze hits from start to finish but that certainly doesn’t mean Phantogram hasn’t proven beyond a reasonable doubt that they are far more than your run of the mill purveyors of electro rock. Combining delicious beats, lovely rhythms and just enough natural edge, Eyelid Movies is the opening act in what promises to be a solid ride with Phantogram.  


REVIEWD BY ALEC BRINEGAR
ALEC'S FAVORITE TRACKS: "Mouthful of Diamonds" • "As Far as I Can See" •  "Let Me Go"



+ Read the Groovemine interview with Phantogram




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