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"Courtesy Laughs" highlights the record's second half with a simple chord progression made transcendent by its metronome rhythm. "Long Distance Call" embodies the disconnect between shamble and sheen better than anything else on the album, with the band alternately stomping the gas and the brake to lurch between their easy-listening older material and the happily polluted new image.
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Here the band improves on its usual success rate by depositing not one, but two showstopper tracks. The tools in "Consolation Prizes" and "Second to None" may be the same, but replacing studied ennui with a breezy joie de vivre prevents the pop essence from being overly diluted by rumpled poses. Maybe that modular usage sounds like a bad thing, but instead the interplay between lazy strumming and everything-in-its-right-place arrangements effectively rewrites the history of the garage-rock revival, drawing a line between "Last Nite" and Tom Petty and erasing the denial that "Maps" was the biggest song that scene's brief heyday produced. This earnest attempt at a costume change fails.but at the same time creates the uncomfortable dynamic that makes it Phoenix's best album.įor all the effort made to un-slick their sound, Phoenix just can't keep their OCD meticulousness at bay, utilizing all that slapdash guitar as a cued sonic preset no different from familiar tools like the string-synth and disco-bass. Loosening their ties and unbuttoning their cuffs, Phoenix put on their best slouch, slathering the album with messy, naturalistic guitar playing completely at odds with their usual robotic aesthetic. The approach of It's Never Been Like That reflects an awareness of this shortcoming, as the band seeks a more consistent sound through mimicking the sloppier styles of those uncouth Americans- in particular the Strokes.