Sam Fender has postponed Newcastle presale after reported bot attack•
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Little Grandad have shared ‘A Minute On The Lips’ and announced a January in-store tour
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CMAT has performed ‘Take a Sexy Picture of Me’ and more for NPR's Tiny Desk•
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Heartworms is back with a sinister new single, ‘Guess I’m Stuck In The Dark’•
Phoebe Bridgers has been announced as All Points East 2027’s first headliner•
FKA twigs will curate Meltdown 2027 at Southbank Centre•
Hot Chip have announced their new album, ‘A Long Way From Kansas’•
The Cribs have announced a Wakefield show for ‘Men’s Needs, Women’s Needs, Whatever’ anniversary•
Tate McRae has released ‘Housewife’ with a South of France-shot video•
Olivia Rodrigo and Chappell Roan have released their ‘expectations’ remix•
Audrey Hobert has unveiled a new video for 'Sex and the City' as she begins her headline tour•
The Dork 2025 Readers' Poll nominations are in, featuring CMAT, Turnstile, Wolf Alice, Djo, Hayley Williams and loads more•
flowerovlove has released her first-ever first Christmas track, 'wishlist'•
Mighty Hoopla and Olly Alexander have announced Trans Mission, a concert for trans solidarity•
JADE has announced a deluxe edition of her debut album, 'THAT'S SHOWBIZ BABY! THE ENCORE'•
Sam Fender has postponed Newcastle presale after reported bot attack•
The Healing Power of Horses have announced ‘8725’, their second EP in six months•
Kesha has dug into the ‘Animal’ archives for her long-lost ‘Backstabber’ video•
Little Grandad have shared ‘A Minute On The Lips’ and announced a January in-store tour•
CMAT has performed ‘Take a Sexy Picture of Me’ and more for NPR's Tiny Desk•
girl in red has released her new EP ‘BLUE’, exploring change and fresh starts•
David Bowie's unreleased 1978 concert film ‘Stage’ is getting a spectacular arena revival•
Mia Joy is taking flight with new single ‘Wings of Desire’ and her second album•
Heartworms is back with a sinister new single, ‘Guess I’m Stuck In The Dark’•
Phoebe Bridgers has been announced as All Points East 2027’s first headliner•
FKA twigs will curate Meltdown 2027 at Southbank Centre•
Hot Chip have announced their new album, ‘A Long Way From Kansas’•
The Cribs have announced a Wakefield show for ‘Men’s Needs, Women’s Needs, Whatever’ anniversary•
Tate McRae has released ‘Housewife’ with a South of France-shot video•
Olivia Rodrigo and Chappell Roan have released their ‘expectations’ remix•
Audrey Hobert has unveiled a new video for 'Sex and the City' as she begins her headline tour•
The Dork 2025 Readers' Poll nominations are in, featuring CMAT, Turnstile, Wolf Alice, Djo, Hayley Williams and loads more•
flowerovlove has released her first-ever first Christmas track, 'wishlist'•
Mighty Hoopla and Olly Alexander have announced Trans Mission, a concert for trans solidarity•
JADE has announced a deluxe edition of her debut album, 'THAT'S SHOWBIZ BABY! THE ENCORE'•
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Phantogram - Three
Album Review

Phantogram - Three

Stripping back the influences and coming up with a more coherent sound might have helped.

Released: 7th October 2016
Words: Dork
SpotifyApple Music
Rating:
Stripping back the influences and coming up with a more coherent sound might have helped.
American duo Phantogram appear to be on the up and up with their third album, ‘Three’. Except they’re not. They supported Muse in April this year and one would assume that they would have picked up some tips from the rockers, but apparently not. The opening track ‘Funeral Pyre’ takes itself a bit too seriously with Sarah Barthel’s vocals drifting dreamily across a mismatch of sounds and ideas that definitely do not gel well together.
Indeed, this continues throughout the album with ‘Same Old Blues’ and single ‘You Don’t Get Me High Anymore’ leaving a distinct taste of too many cooks. ‘Cruel World’ starts off as a piano ballad before becoming electro with a hip hop snare, whilst ‘You’re Mine’ has an old timey dance hall beat under juddering synths whilst Barthel and bandmate Josh Carter trade vocals. Album closer ‘Calling All’ is yet more proof that having a range of influences isn’t always a good thing with that familiar feeling of disjointed and quirky for the sake of it. There isn’t a sense of consistency across the album either, with each track seeming different from the last. Perhaps stripping back the influences and coming up with a more coherent sound might have helped. Josh Williams

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