Phoenix formed in 1995 in Versailles, the well-heeled suburb outside Paris, from a circle of school friends: singer Thomas Mars, bassist Deck d'Arcy, and brothers Christian Mazzalai and Laurent Brancowitz, who had earlier played alongside the future members of Daft Punk in a short-lived band called Darlin'. Across 'United' (2000) and 'Alphabetical' (2004) they refined a bright, meticulous pop-rock — clean guitars, disco-lit rhythm, and Mars's unhurried, accented tenor — that broke through worldwide with 2009's 'Wolfgang Amadeus Phoenix,' whose singles '1901' and 'Lisztomania' won the band a Grammy for Best Alternative Music Album. Later records — 'Bankrupt!,' 'Ti Amo,' and 'Alpha Zulu' — kept chasing the same balance of studio gloss and melodic warmth.
Phoenix are longtime Rundgren devotees, and AllMusic lists him among the band's formative influences. His model of the studio auteur — one obsessive craftsman multitracking power-pop into gleaming, overdubbed detail, as he did playing nearly everything himself on 'Something/Anything?' — underlies Phoenix's own approach to production and hook-building: nothing left rough, every part placed for maximum lift.
listen forCue 'I Saw the Light' next to 'If I Ever Feel Better' — both stack a sunny, major-key melody over crisp, tightly arranged pop, piling backing vocals into a chorus that's engineered to swell rather than merely arrive.
The two acts came up in the same Versailles circle: guitarist Laurent Brancowitz played in Darlin' with Thomas Bangalter and Guy-Manuel de Homem-Christo before they became Daft Punk, a connection Phoenix still cite. That shared 'French touch' lineage surfaces as production sensibility — Phoenix carried the filtered, compressed sheen of French house into a guitar-band setting rather than the club.
listen forSet 'Around the World' beside '1901' — both ride a tightly filtered loop that opens and closes like a valve, a processed, glassy sheen laid over an insistent, danceable four-on-the-floor pulse.
Phoenix placed Roxy Music's 'Pyjamarama' on 'Kitsuné Tabloid,' the 2009 mixtape they compiled of the records that shaped them. Roxy's sleek, stylish art-pop — Bryan Ferry's detached, mannered croon riding a danceable groove — is a clear template for Phoenix's own suave, faintly arch pop, which prizes cool poise over emotional plainness.
listen forPlay 'Love Is the Drug' and then 'Lisztomania' — both set a cool, slightly aloof lead vocal against a taut, propulsive groove, art-rock dressed for the dancefloor rather than the gallery.