Phoenix

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Editorial Reviews

All Music Guide - Alexey Eremenko
Phoenix entered the Japanese Top Ten, but its first few minutes make one wonder why, because the album opens up with some sturdy hardcore that's not exactly prime charting material. However, things clear up pretty fast, and the hardcore thing turns out to be a harmless mimicry for what is actually an emo-punk album. Sounding like Fall Out Boy became a safe ticket to success around 2008, but the downside is that the shtick began wearing thin fast -- which explains the non-conventional intro, as Zebrahead seem to be trying to make up for lack of originality on Phoenix with versatility. The backbone of the album is still formed by simple riffs played with punk speed, their...
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Editorial Reviews

All Music Guide - Alexey Eremenko
Phoenix entered the Japanese Top Ten, but its first few minutes make one wonder why, because the album opens up with some sturdy hardcore that's not exactly prime charting material. However, things clear up pretty fast, and the hardcore thing turns out to be a harmless mimicry for what is actually an emo-punk album. Sounding like Fall Out Boy became a safe ticket to success around 2008, but the downside is that the shtick began wearing thin fast -- which explains the non-conventional intro, as Zebrahead seem to be trying to make up for lack of originality on Phoenix with versatility. The backbone of the album is still formed by simple riffs played with punk speed, their energy serving as a counterbalance to the melodies that are so sensitive they border on whiny. However, the guitars are often genuinely heavy, reminding of Taking Back Sunday, and the punk vibe occasionally becomes too brutal to count as melodic. But only occasionally: melody is still a byword for Phoenix, which clearly longs for pop appeal, for all its speed and quasi-metal elements. There are a couple of more daring detours, too, such as the reggae-tinged "Mike Dexter," or "The Juggernauts," which plunders the vaults of arena rock of U2 by way of Angels & Airwaves (making it a double plunder). All in all, the genre-hopping is handled pretty well, and the album never becomes a disparate jumble of influences, but the emo-rock used as glue, while energetic and not overly sentimental, isn't exactly full of hooks, which probably explains why this album, in the end, only enjoyed moderate chart success.
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Product Details

  • Release Date: 8/5/2008
  • Label: Icon Records
  • UPC: 859081001129
  • Catalog Number: 112

Album Credits

Performance Credits
Zebrahead Primary Artist
Howard Benson Keyboards, Hammond Organ
Ed Udhus Group Member
Ali Tabatabaee Group Member
Greg Bergdorf Group Member
Ben Osmundson Group Member
Jason Freese Background Vocals, Musician
Tommy Shane Steiner Background Vocals
Matty Lewis Group Member
Runner Runner Background Vocals
Technical Credits
Howard Benson Programming, Producer
Mike Plotnikoff Engineer
Sergio Chavez Producer, Engineer
Zebrahead Composer
Cameron Webb Producer, Engineer
Shawn Harris Artwork
Greg Bergdorf Producer, Engineer, Demo Coordinator
Jason Freese Demo Coordinator
Hatsukazu "Hatch" Inagaki Engineer
Marc VanGool Guitar Techician
Jon Nicholson Drum Technician
Emilee Seymour Artwork
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Customer Reviews

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(1)

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Sort by: Showing all of 2 Customer Reviews
  • Posted October 1, 2010

    more from this reviewer

    Masterful flavor stylings of Punk, Rock, and Hip Hop.

    Hailing from La Habra CA, Matty (vocals/guitar), Ben (bass), Ali (vocals), Greg - G-money (lead guitar), Ed (drums) bring together Zebrahead's best album to date. 10 or so years into Zebrahead's musical career, Phoenix brings them full circle into a fresh new approach to the blending of current genres into something all together new. Each track explicitly defines the band as they break genre throughout the album giving the listener something new and fresh each track.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 5, 2008

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews