Phantom Planet's first album in 12 years is quite a remarkable breakup record that is refreshingly versatile, reflecting on heartbreak and introspection through different styles and genres.
My experience with the California-based rock band (known as Phantom Planet) is quite sparse and is only limited to one song. Like many, many other people, the 2002 single "California" is a song that enveloped me throughout my childhood, a track that is still a strong pop song to this day. A huge breakout hit for the band, exposing many due to it being the theme song from The O.C. TV series. As great of a track "California" may be, my experience with Phantom Planet begins and ends there. Until around 2019 that is, because that is when the band returned from a lengthy hiatus that initially started way back in 2008. They returned last year with a comeback single, titled "BALISONG," and now have returned with a comeback album. Devastator is the band's brand new album and there's quite a few things worth noting.
Devastator is the band's first new album in 12 years and is quite a change of pace. There are noticeably newer and fresher sounds and production in the mix of these 11 songs. This is exciting to hear, especially when I was crossing my fingers that the group wouldn't be rehashing the same old sound over and over again, like many comeback albums have in the past. Also, this is a breakup album (what I presume is the band's first) with melancholic lyrics and somber styles scattered throughout the record. Notably, this record takes place after frontman Alex Greenwald and his ex-fiancé, acclaimed actress Brie Larson, had broken up. There are many breakup songs like the meditative "Time Moves On" (which Greenwald wrote after the breakup) or the punchy "BALISONG" along with lovesick ones like the pop-centric groovy "Only One." The record is a nice blend of pop, rock, indie, and even classic piano balladry. It's a listen that I found to be quite surprisingly refreshing and satisfying for a comeback album from a band that's been around for over 20 years.
What I find unique about Devastator are the performances and stylistic endeavors themselves. Before listening to this record, I didn't really find Alex Greenwald to be an incredibly captivating singer or the band to be very versatile. But listening to many of the deep cuts on here really changed my mind. "Leave a Little Light On" is a straightforward rock song with lullaby-like melodies and harmonies and some solid guitars. The multi-layered harmonies on the backend of the track is a lovely surprise. The simple cheeky melodies on "Party Animal" remind me of "Sweet Caroline" for some odd reason and its chorus is the weakest on the album, but its abrasive guitar passages really make up for the negatives. "BALISONG" is a very strong opener with a hooky chorus, chunky guitar riffs, and slightly moody synths in the background. "Time Moves On" is a good breakup ballad when it's on, but it lasts about a minute too long without really uncovering anything new in the last minute. "Through the Trees" might be the weakest song on the album, but it's still an enjoyable moody slow burner. "Only One" is an infectiously fun pop single with its bouncy grooves, sharp melodies, and chorus. A 2020 highlight for me!
Some of the more surprising deep cuts wind up being on the second half of the album. "Torture Me" is another somber breakup song with its quiet guitars and percussion under Greenwald's vocals about splitting apart with his significant other. The quietness of the track is a huge buildup for the end of the track which explodes into abrasive guitars. It's quite the payoff and is one of the most exciting moments on the record, but I really do wish it was longer. I wish it lasted 20 or 30 seconds longer at least, especially how short the climax is. "Dear Dead End" is a cute acoustic ballad that is reminiscent of late 2000's coffee house blues. "Waiting for the Lights to Change" is another highlight. It's a synth driven ballad with some great drum machine elements with a strong guitar solo and hook in the back end. "Gold Body Spray" is noticeably the biggest curve ball for the listener. It is a sparse ballad with only piano, strings, and organ backing Greenwald's vocals. It's a gorgeous track that sounds incredibly cinematic with the organs sounding so chilling and dark. A thrilling highlight for me. "ROTK" concludes the record into a moody cut that sounds like an Interpol b-side (a good Interpol b-side at that!).
Devastator is quite the comeback album, one I certainly didn't expect I would enjoy this much. I'm honestly quite impressed with the majority of these performances. Each member seems to be pulling their weight too. The production is really solid, each track sounding unique from the next, all while sounding like a cohesive listening experience. Sure, these styles and genres of adult alternative pop and rock have been done before. But it's nonetheless a really enjoyable and great listen and all the more surprising that these songs are coming from a band two decades into their career after 12 years of studio album silence. Though I didn't wait 12 years for this record, it certainly sounds like a band that cares about the craft of their sound and style. Devastator is a well refined breakup album that is refreshingly taking on a versatile amount of genres and styles, reflecting on heartbreak and introspection. Phantom Planet have a veteran status in the music world and they certainly do deserve to be respected with this record alone.
My Rating: 8 / 10
Favorite Songs: "Only One," "BALISONG," "Torture Me," "Gold Body Spray," "Leave a Little Light On," "Waiting for the Lights to Change"
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