Liner Notes: Phoenix, 'Wolfgang Amadeus Phoenix'

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WHILE GROWING UP in Versailles — a wealthy suburb of Paris — the members of indie-pop rockers Phoenix had a very simple attitude.

"When you grow up in a city that's like a museum you have to mess with things," singer Thomas Mars said. "I remember just the fact that you'd be in a band and make noise in this giant museum would be a problem for people living there."

The title of Phoenix's fourth album follows that line of cheeky thinking by co-opting the name of one of history's greatest composers: "Wolfgang Amadeus Phoenix" (V2 Records).

"I think it's like the mustache on Mona Lisa — it's really childish," Mars said. "Without knowing it, I'm discovering why we chose the title [and] why it's appealing. ... It's messing up with something iconic."

The album also messes with Phoenix's sound. Nearly every song has a hint of electronica and the driving singles "Lisztomania" and "1901" show the quartet brimming with confidence.

Express asked Mars to take us on a track-by-track tour through "Wolfgang Amadeus Phoenix." Stream the whole album here and follow along.

"Lisztomania"
We liked the idea that it's just a mash-up, that our songs ... bring in influences from everywhere. I think that [19th century Hungarian composer] Franz Liszt was one of them; there were other things, visuals. And maybe it was the fact that we grew up in Versailles and we were surrounded by historical things. Maybe they came back that way.

"1901"
Anthems are good. "1901" really worked because we wrote almost all the song in 10 minutes, but it took us almost a year to finish it. We had the idea of the verse, and the chorus, the bridge, the rhythm, all the arrangements and everything, and then it was really hard to finish. So, I think you can feel there's something more sophisticated, maybe a production that's maybe new to us.

"Fences"
"Fences" was a song that Philippe Zdar, who produced the record, he's responsible for that song to be on the record because he left for three weeks on holiday and he left with this demo that we threw away and when he came back he already had memories with it. He had the best holiday. And he said, "There's no way this song isn't going be on the record; if it's not on the record I'll leave right now." We tried to incorporate it and it really didn't fit [at first]. We try to make [the tunes] breathe and this song is really the most electronic ... It's basically like giving life to these [electronic] instruments.

"Love Like a Sunset Pt.1" and "Love Like a Sunset Pt.2"
It was driving from Versailles off to Beirut where we went to finish the album. We were driving in the car and we had this experience where the lights and sound were giving a rhythm to the song and road, and we wanted to create something that was both epic and almost hypnotic, but very minimalistic. Our instruments are very hybrid; the guitar [is] be very simplistic.

"Lasso"
[The song was recently featured on MTV's "The Hills"] I have no idea [how I feel about its use] because I've never watched "The Hills," but what I can tell you is in France we are used to a law that your song can be used on anything — except a commercial — but they don't need an agreement to be on a TV show. So, sometimes it's for the worst, but sometimes its very cool. ... Once the record is done you have no control at all.

"Rome"
I think a lot of French guys have this weird connection with Rome. Rome is almost like Venice; I think it would be the same for Americans when they go to Paris. ... We wanted a song that was really epic.

"Countdown (Sick for the Big Sun)"
I think it's the same idea that you're a little lost. I like the idea that when the singing is a little out of control you can't control really what you're doing or you can't control time or something. So it's the same the way I see it and sometimes the lyrics feel like it, or sometimes I just repeat a word because I like it so much. I think its just influences. Not to compare us, but I know Miles Davis would do this; he would just play one note that he loved for 10 minutes. As musicians, we really put ourselves into it.

"Girlfriend"
It was a fantasy this song. There is a Clash song called "Death or Glory" and this song — I didn't know it — but I love The Clash so much, [but] this song wouldn't play on my [copy] of "London Calling." We imagined this song, so it started as a Clash song then we'd make it our own.

"Armistice"
With the track listing you always know the beginning and the end of every record. We pay attention to the last lyric of the last song because it leaves you with a very strong impression. And this had the most poignant lyrics for a finish. You want to end up with something that ends up with a little weight.

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Written by Express contributor Rudi Greenberg
Photos by Pascal Textier