Phoenix rises again with the release of their latest album, Bankrupt! And, luckily for fans of indie genres alike, the band offers a mature and well-refined follow up to the critically acclaimed Wolfgang Amadeus Phoenix.

For those who may be out of the loop, Phoenix is a multidimensional, alternative indie rock band from Versailles, France. Released last Monday, Bankrupt! is the band’s latest installation since the Grammy-winning Wolfgang Amadeus Phoenix, which hit audiences globally in 2009. 

A few things to note about Bankrupt! right from the start is that, unfortunately, the first two songs are arguably the worst: They’re just somewhat forgettable, and the album really doesn’t start to pick up until the third track, “S.O.S. in Bel Air.” The album’s overt use of synthesizers is more or less uncharted territory for the four-piece band. Phoenix mostly uses the synths for texture and as production enhancers to fill space and provide a large sound, usually in the form of arpeggios (a chord played as individual notes instead of one simultaneous collection). But Phoenix does synths justice all the same. However, songs like “Don’t” show that the band is capable of taking a synthesizer and rubbing it obnoxiously up in the faces of listeners successfully.

Bankrupt! is a concept album, meaning tracks flow into each other and the album as a whole takes on a life of its own, as an entirety rather than an assortment of more or less randomly dispersed songs. This is particularly notable in the album’s seven-minute interlude and title track “Bankrupt!,” which ambles throughout a series of Phoenix-familiar hooks and wandering stanzas. The album finally finds its way into “Drakkar Noir,” an upbeat dance song reminiscent of Phoenix’s Alphabetical-era disco-pop sound; these tracks are strategically placed to re-excite listeners. 

“Drakkar Noir” ends with an ascending synthesized arpeggio that cuts the tempo in half and segues seamlessly into the album’s arguable apex “Chloroform.” This M83-esque R&B hit is heavy on the down stroke and sure to catch even the most zoned of listeners off-guard. The song is significantly slower than the surrounding tracks: It leans heavily on the reoccurring textured synth work and is not a Phoenix staple. Mostly, the track oozes with attitude and charm, and the song is stylishly catchy to say the least.

Returning Phoenix fans will certainly not be disappointed by the band’s tastefully composed follow-up album. Those unfamiliar with the power-pop quartet have more than enough to sink their teeth into as they delve and sift through the band’s endless supply of pop-gasms stemming from a catalog-sized discography upon hearing this new treat. 

Moreover, the deluxe edition of Bankrupt! includes a bonus album full of equally impressive thirty-second to one-minute tasty gems. Did I mention the bonus album has 71 tracks?

Phoenix is one of those rare exceptions to contemporary indie music in the era of buzz bands and one-hit wonders, and they consistently deliver. This is not a huge surprise given Phoenix got its start circa 1999-2000 and has been around the block. Their debut album, United, is still relevant to new listeners today. Bankrupt! presents a powerful first impression that packs heat and the caliber of work Phoenix is usually known for, giving it strong replay value.

Bankrupt! will fit neatly on any fan’s favorites shelf.

4 out of 5