Phoenix’s 2000 LP ‘United’ Receives Vinyl Reissue for Record Store Day 2026 (ALBUM REVIEW)

Originally released in 2000, United finds Phoenix at the very start of their run, before the polish and global recognition of later albums. At this point, they’re still figuring things out, but the core of their sound is already there with clean guitar lines, understated grooves, and Thomas Mars’ conversational vocal delivery. It sits somewhere between late-‘90s indie pop and the tail end of the French touch movement. For the first time in almost a decade, United is being reissued on vinyl by Rhino Records for Record Store Day 2026. The RSD Exclusive is pressed on crystal clear vinyl and limited to 3500 units.

“School’s Rules” opens the album in a loose, almost sketch-like way, easing into the record with a funk-rock feel. “Too Young” is where things lock in. The rhythm is tight but not rushed, and the hook is immediate with Mars’ vocals at the forefront. It’s one of those tracks that explains why the band clicked so quickly with listeners outside France. “Honeymoon” keeps things light and melodic with a slower tempo and an extended organ outro, but “If I Ever Feel Better” is the centerpiece. The bassline carries most of the weight, and the song builds around it effortlessly. The funky pop bounce of the track immediately brings to mind bands like Jamiroquai. The balance between the upbeat sound and slightly distant lyrics here hints at what will become a defining trait for the band. “Party Time” brings a pop-punk element, while “On Fire” on the second side slows things down with a more R&B style incorporating female vocal harmonies. “Embuscade” is more of an interlude, jazzy and instrumental, setting up the back half of the album rather than standing on its own. The “Funky Squaredance, Part 1/2/3 (Medley)” suite is where the band stretches out the most. Broken into multiple parts, it moves through different sections over the course of ten minutes. It starts with a more country-western feel with shuffling drums and lap steel before moving into electronic territory. The transition feels like walking from a room where Townes Van Zandt was playing into one where everyone is dancing to Daft Punk. The third section feels like walking into another room where Guns N Roses are playing, but the door to the dance party is still open, and they bleed into each other. “Definitive Breaks” closes the album in a funky-jazz low-key way, more about atmosphere than a big finish.

On United, the songwriting is consistent, the production is clean without being slick, and you can hear the beginnings of what Phoenix would refine over the next decade. The overall feel of the album, though, isn’t necessarily cohesive, and it’s obvious the band hasn’t settled on a signature sound yet. The pressing here is crystal clear (just like a record variant), and every instrument feels balanced. For longtime fans, it’s a reminder of where the band started. For newer listeners, it’s a solid entry point, less immediate than their later work but revealing in how their sound came together.