Appearances can be deceiving. While one can easily be swayed by the sunny guitar ripples and the relatable lyrics, Phantasms exhibits an allure that’s almost illusory; an ostensible charm that promises so much, but upon closer listen, only reveals the clutter beneath the glitz and glam.
This outcome could hardly have been predicted. The Strange Creatures has garnered a strong following since its inception back in 2013. Through a steady stream of singles (particularly the fan-favorite, Moonstruck), and the addition of dream-pop darling, Megumi Acorda, to the lineup, the band had created a significant amount of buzz around its impending full-length release. Upon its debut , it had seemed the album had lived to the hype, amassing much acclaim from local online publications and fans alike. However, this commotion around the album, to be quite frank, is all a bit baffling.
There’s no denying the talent within the group. In the opening track, ‘Moonstruck’, listeners are treated to a symphony of guitar lines that cascade to the backdrop of Megumi’s synth work. One can peer with wonder at the flex of skill, but as a whole, the individual parts feel a bit disjointed. It seems every member tried to cram in as many of the licks or tricks they know, without much care for the song as a cohesive whole.
Much of the same can be said for majority of the tracks in the record. This can be expected, given the band’s almost-formulaic approach to songwriting. ‘Stargazer’ and ‘Into Serenity’ are washed with guitar leads that wander aimlessly into the background, only to be forgotten. The tinny jangle of the acoustic guitar in ‘Into Serenity’ adds a nice rhythmic element, but lies too far in front of the mix, sticking out like a sore thumb.
This brings us to the crux of the record’s problem: the production. As pointed out before, each of the instruments felt disjointed, sometimes unpleasant. Particularly, the vocal mixing was unflattering towards the singers. In ‘Dreamy Eyes’, the vocals of the two singers were juxtaposed, with Megumi’s reverb-drenched voice responding to Jon Tamayo’s drier signal. An interesting idea on paper, but it failed to materialize in the song. The dissonance between the vocals felt awkward to the ear.
There are certainly highlights in Phantasms. ‘Palipad Hangin’ dazzles with its youthful energy, informed by the quirkiness of bands like Camera Obscura and Belle & Sebastian. In the track, the dynamic interplay between the instruments is a lot more apparent. The spunky mood of the track bellies the fragility of the lyrics (“Huwag mong daanin sa ligaw tingin/ Ako’y naghihintay lang din”), adding depth to the upbeat affair. In the same manner, ‘Mananatili’ starts off with playful guitar licks, followed by Tamayo assuring the listener with potent urgency (“Hwag kang matakot/ sasamahan kita). To cap off the highlights, there’s ‘I Feel Like I’m On Drugs’, which is arguably the strongest track. The song shows vestiges of Megumi’s fantastic debut EP, capturing the haze and fervor of her debut.
To sum it up, Phantasms is an album that loses itself in its ambition. It meanders towards dizzying heights but fails to stick a landing. While commendable, the execution leaves one detached from the work, mostly because of the production and lackluster songwriting. The record, however, speaks volumes of the group’s potential (as seen in the highlights of the album) and one should keep a look out for any successive releases.