When you think about your early experiences with music, what do you think of? Did it lead you to artists and songs you still listen to today? Sometimes I think about these questions, and very frequently the answer is: Wolfgang Amadeus Phoenix. The 2009 release from Paris based Phoenix, although not hit riddled, is one of those albums you must know about. It’s acted as a stepping stone into similar albums, and entire genres of alternative and indie-pop for so many of its listeners. It screams rebellion and discovery, and a childlike curiosity that matched that of myself when I discovered it in elementary school.

The album opens with two of, perhaps, the greatest singles the genre has heard, with “Lisztomania” and “1901.” Although similar in popularity, these tracks have key differences. “Lisztomania” feels more ponderous, with a patient guitar riff accompanying a simple drum pattern, and a low, drawn on synth guiding the verses. The start of the chorus quiets the band and brings another simple melody played by a lone piano, followed by a 3 note bass pattern before exploding into the rest of the instruments, a frantic but coordinated instrumental that matches the lyrics. The next chorus feeds off the ‘mania’ and becomes a more complex version of the first. The bridge spirals into a calming set of synths, similar to birds chirping before piling back on the frantic instrumental from the chorus before abruptly stopping to set up the beginning of “1901.” “1901” brings a heavy and bossy set of feedback filled synths before adding in high tempo drums that slow for the verse. This song, according to Phoenix lead singer Thomas Mars, is about how Paris was better back in 1901 than it is now [in 2009], and described a fantasy in the present day. The This track certainly brings a storybook like feel , and makes you want to skip school or work and go do something fun. 

“Fences” is a more etherial sounding song with shimmering synths and a falsetto voice throughout the lyrics. The track is relaxed and an easy listen, and although a step down from the first two tracks, I feel it finds its place perfectly, slowing the tempo down for the next two tracks, both of which under the “Love Like a Sunset” name. Part I of this track is a whirlwind, roller coaster of a track with a plethora of synths and instruments that build and build until suddenly quieting down for an eerie melody with a retro filter. Plucky string and punchy drums take over for the rest of the tune, for another epic buildup again abruptly ended and carried over into part two. Part two contains the lyrics that speak for the track. They compare love with a sunset, as both are beautiful, but fleeting nonetheless. It’s rare to find songs that accurately capture an emotion such as love. The way “Love Like a Sunset” is split into two tracks feels so poetic, and the frantic buildup of part one leading into a crisp and clear message in part two is just perfect. It’s heartfelt, sincere, and artistically a masterpiece. 

Phoenix returns to a more traditional indie-pop feel with two songs that represent past relationships. “Lasso” was the third single they released during the album’s rollout, and is complete with a complex drum pattern and a guitar that takes the back seat until it ramps up in volume during the chorus. This song is about a breakup, and the lasso represents that of life; you may catch someone but a lasso can only go so far. “Rome” comes next, and describes the narrators infatuation with ‘Rome”, the shortcomings of their love, and the potential to rebuild. The quick strumming from the guitar fits the vibe of the song, with Mars saying they “wanted a song that was really epic.” 

“Countdown” comes next, and is a song about growing up. “Do you remember when 21 years was old” is a lyric that really hit hard. We used to be “sick, sick, sick…” for the big sun, maybe in this case that means adulthood. But now that we’re here, the perspective has changed. The songs use of minor chords really accentuate the grueling and unbearable nature of time passing. It’s a bittersweet song that perhaps means more to me now than it will years from now.

“Girlfriend” is next, a story about feeling disconnected from the narrators partner. A bright set of synths and middle ground tempo perhaps differ from the slightly down feeling lyrics of yearning for connection. The album ends with the tenth track, “Armistice.” The term’s definition is an agreement made by opposing sides in a war to stop fighting for a certain time, or a truce. Layered guitar and jam style chorus complete a hopeful chorus.

It’s no wonder why this album did so well not only on the charts, but in the minds of critics too. Truly ahead of its time, Wolfgang Amadeus Phoenix paved the way for indie music and the new wave alternative that we know today. If someone were to ask me how to get into that style of music, I’d almost surely point them in this direction.

So should you listen? Our answer: Yes.