Sarah Barthel and Josh Carter charge a rest. It’s a balmy Los Angeles evening, and Phantogram’s singer-keyboardist and producer/multi-instrumentalist are coiled up aloft a bed in a affluence apartment, absorption on a year of ballsy highs and one devastating, claimed accident – the suicide of Barthel’s earlier sister Becky in January. Tomorrow in Las Vegas, the New York-bred duo bliss off a five-week, 29-date bout advanced of its third album, Three.
“The almanac is about heartbreak,” says Barthel, 33. “The best way to see it is like a admirable car crash, that for whatever acumen makes you apathetic bottomward and look.”
Becky, Barthel’s alone sibling, was additionally a acquaintance of Carter’s growing up in the pair’s hometown of Greenwich in southwest New York. Details about her casual abide spare, and it’s understandably a acute affair for Barthel, who gets acutely downcast aback discussing affliction as a affair for their latest work. She’s additionally cutting a letterman anorak with her sister’s initials, “BB,” on the advanced and “Bextacy” emblazoned beyond the back.
Listen to Phantogram’s Mysterious New Distinct ‘Same Old Blues’
Three, which comes out Oct. 7 on Republic Records, isn’t the aboriginal time Phantogram has explored atramentous themes. The LP follows 2014’s Voices, which hit No. 3 on Billboard’s Alternative Albums blueprint and generated the doomy, pulsating distinct “Black Out Days.” The pair’s 2009 debut, Eyelid Movies, was the acme of years of abundant touring, during which Phantogram at times played for audiences of five.
“It’s funny, because we’re both goofballs,” says Barthel. “We’re fun people, but if you alone apperceive us from our music, you’d anticipate we sit in a aphotic room.”
Phantogram is a abstraction in contrasts, alike bottomward to Barthel’s chin-length, two-toned hair. Dressed absolutely in black, Barthel and Carter are balmy and quick to laugh. Through the band’s rise, it has collaborated with acts as disparate as The Flaming Lips and Big Boi, with whom Phantogram appear the 2015 LP Big Grams. The leash additionally hit the festivals, arena Bonnaroo, Lollapalooza and Air & Style – the anniversary founded by Barthel’s boyfriend, snowboarder Shaun White.
“We don’t feel alone to accomplish a specific sound,” says Carter, 34. “We’re not abashed of anything.”
Made during six months in Los Angeles’ Echo Park neighborhood, the 10 advance on Three analyze capacity of annoyance and mourning. The adverse amid joy and pain, the highs of success and the lows of tragedy are accent in “You Don’t Get Me High Anymore,” which has spent 14 weeks on Alternative Songs and is No. 7 on the Oct. 15 chart. The clue oscillates amid a throttling guitar riff evocative of Muse (which Phantogram opened for on bout in 2015) and lyrics about car crashes, staring into the abysm and added actinic intake. “It’s that ablaze and dark, Jekyll-and-Hyde affectionate of mentality, area there’s a bifold meaning,” says Carter. It was this song, they say, that set the accent for the blow of the record.
“In authoritative this album,” says Carter, “we learned how to trim a lot of fat and get to the point in added of a pop way.”
Even the anthology cover, a photo Carter took of a fire, illustrates Phantogram’s alertness to adjust affecting accident for meaning. “You don’t apperceive absolutely what’s burning, but it’s ablaze and beautiful,” says Barthel. “But it additionally represents a lot of anguish and darkness.”
“Ultimately,” adds Carter, “it’s about award the adorableness in the darkness.”
This commodity originally appeared in the Oct. 15 affair of Billboard.
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