Phantogram’s latest album repeats past successes, builds new strengths

To avoid falling into a repetitive trap, while still maintaining elements of their old style, artists must take risks that straddle a very thin line. Phantogram, an indie rock and electronic duo from upstate New York, manages to walk this line in “Voices.” Building on the successes of their previous record and EPs, Phantogram assembled an album that repeats its characteristic flying synths and urgent vocals, but also moves away from the spacious feel, creating something more assured and precise.

Some music has the misfortune of slipping into a ubiquitous background presence — the kind of music you can find on MTV shows about teenagers, in movie trailers or bumping overhead as you shuffle between shelves in a clothing store. Although a critical and commercial success, the band’s debut album, “Eyelid Movies” (2010) — which featured Sarah Barthel’s airy vocals and atmospheric keyboard playing, and Josh Carter’s edging-on-rock guitar — ended up as something that existed as an accompaniment to environments. It was something to hear rather than listen to. It seems that on “Voices,” Phantogram moves away from this in order to earn more distinction, as well as to break out of the crowded field of electronic based artists with mostly feminine vocals that dominate today’s scene.

Like the little engine that could, the duo has been consistently releasing EPs and collaborations since their debut album. Their tracks featured on Big Boi’s “Vicious Lies and Dangerous Rumors” (2012) were notably well received, and Phantogram received production credits for one of the songs. They have also worked with The Flaming Lips, helping to record and release a sexually explicit video for the song on which they collaborated, “You Lust” (2013). Phantogram has in no way slowed down since their last album four years ago, and they have certainly kept the public interest in their favor, performing at crowded venues and forging creative partnerships with other musicians.

Described by guitarist and vocalist Carter as “street beat,” Phantogram’s music now avoids the background noise genre. Songs like “Fall in Love” and “Black Out Days” are some of the album’s most memorable, creating pounding mid-tempo percussion fused with R&B rhythms and whining synths that push Barthel’s vocals into something more powerful than the whisper she sometimes uses. Her urgent vocals and sense of desperation — made famous on older tracks like “16 Years” (2011) and the popular “When I’m Small” (2009) — are still effectively utilized.

“Bill Murray” seems at first as an emotional interlude to the album, beginning with Barthel wondering, “Am I lonely?” Although not particularly focused on its namesake, it would fit in well towards the end of a Wes Anderson film, in which Murray often appears.

The only two tracks that feature Carter’s singing, “Never Going Home” and “I Don’t Blame You,” stick out. With a sense of confusion and wonder, Carter — sounding much like Phil Collins — laments over quiet moans, “If this is love, I’m never going home.” On the repetitive “I Don’t Blame You,” his incessant crooning ends up being particularly effective, a wistful apology that can remind listeners of their own past and mistakes.

Despite clear attempts to be stronger in its delivery and more assertive with its melodies, “Voices” ironically lacks a particularly memorable voice. It is sometimes a struggle to differentiate between a few of the middle tracks like “Bad Dreams” and “Howling at the Moon” where the album gets a little monotonous. Without the sharp and catchy synths of artists like CHVRCHES or the clever, creepy themes and lyricism of Purity Ring’s “Shrines” (2012), Phantogram doesn’t quite achieve what it set out to do. “Voices” may be an enjoyable listen, but it fails to stick out in any special way.