ne of the most popular ideas in modern science fiction is the suggestion that, somewhere out in the distant cosmos, aliens are intercepting radio and television transmissions and, from those errant signals, forming distorted views of humanity. With a historic and stylistic musical fusion that includes everything from garage rock and punk to new wave and pop, The Phenomenauts could easily come from one of those faraway planets. Their second full-length CD, Re-Entry, creatively melds disparate harmonic elements, blending down-to-earth and out-of-this-world rhythms with intriguing scientific sentiments. Taken as a whole, it's an unearthly excursion that's simultaneously enlightening and entertaining.
Gripping guitar dominates the first number, "Mission," serving as an aggressive counterpoint to plaintive lyrics that proclaim, among other feelings, "It's hard to live your life when your circuits feel hollow." Rockabilly riffs underscore the incessant onslaught of modern technology in "Hurry Let's Go," with tunes like "Neptune City," "Composite Synthesizer" and "Giant Asteroid" combining old-fashioned rock 'n' roll with wistful SF views. Meanwhile, "Space Fight" mixes classic organ tones with a take-no-prisoners beat, even as the closing cuts, "Welcome Back" and "Space Girl," which basically share the same words, provide dynamic 1950s doo-wop and pop atmospheres.
The band members, identified only by their futuristic noms de guerre—Commander Angel Nova, Corporal Joe Bot, Major Jimmy Boom, Captain Chreehos and Professor Greg Arius—call their inimitable melodies "rocket roll" and perform in full outer-space regalia. They also take credit for inventing and playing the world's only "theramatic helmerator," a device that's essentially a wireless theremin attached to a skateboard helmet.
Both rousing and reflective
There are dozens of rock groups that, to varying degrees, use science-fiction subjects and imagery in their music and stage shows. What separates The Phenomenauts from these acts is that, rather than simply putting on an outlandish performance or mixing B-movie dialogue samples into songs, this ensemble actually addresses real-life concerns regarding the interaction of society and science. In fact, despite ostensibly happy-go-lucky harmonies, most of the 13 selections on Re-Entry are extremely contemplative.
"Progress vs. Pettiness" outlines humankind's ongoing exploration of the universe, opening with Sputnik-inspired beeps that disappear behind an engaging lyrical examination of the space race. The words raise some interesting hypothetical questions, such as whether the Apollo astronauts really did land on the moon, yet ultimately—and rather triumphantly—declare, "Man's progress rules his pettiness." "I Am Robot" considers the pervasive influence of robotics, incorporating a driving drumbeat and calculatedly masculine vocals listing a litany of items crafted by automatons, with "Where Is the X-38?" angrily taking NASA to task for killing a project that could have served as an emergency return vehicle for inhabitants of the international space station.
The mélange of styles can be a bit overwhelming, and the works are now and again marred by overly simplistic rhymes and sloppy production, but on the whole Re-Entry is persuasive and musically quite pleasurable. Though The Phenomenauts may not be tightest band on the planet, by harmonically borrowing from the past while lyrically looking to the future they're undoubtedly among the most thought-provoking.
