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Phonogram is a comic book by Kieron Gillen and Jamie McKelvie that takes Magic Music into the 21st century. In this universe, pop songs have power and the people who can use it are known as "phonomancers". There have been two series so far. The first, Rue Britannia, follows phonomancer David Kohl's attempts to discover who is trying to resurrect the dead goddess of Britpop. The second series, The Singles Club, takes place over one evening in a club, each issue viewing the events through the perspective of a different character. Gillen and McKelvie have announced a third series, The Immaterial Girl, which will follow the character Emily Aster, but thanks to both creators' work for Marvel God only knows when it'll come out.Each issue so is jam-packed with references to bands and music that a 'crib sheet' is included in the back. This is often one of the most entertaining bits of the comic, as its tone is very personal and informal.
Anthropomorphic Personification: Britannia, mod-goddess of Britpop; herself an aspect of The Goddess (also called The Feminine Principle), who embodies femininity in general.
Berserk Button: Seth Bingo has several: Do not do magic at his club night. Do not request records with male vocals or The Pipettes' "Pull Shapes". Also, don't say Girls Aloud aren't a real band, or he will destroy every thought you've ever had.
David Kohl has The Libertines, but manages to keep his rage in interior monologue form.
British English: Well, it's written by two Brits and takes place in Bristol, Bath and London.
Came Back Wrong: The goddess Britannia's resurrection doesn't change the fact that she's been rotting since Britpop died.
Deadpan Snarker: Almost all of the main cast of The Singles Club. Special mention goes to Laura, however, as she manages to be a Deadpan Snarker while speaking almost exclusively via quotes from songs and writers.
Do Not Call Me Paul: Lloyd, who would much rather be known as Mr. Logos. Inverted with his friend Marc, whom everyone calls the Marquis despite his protests.
Hollywood Homely: Invoked and lampshaded by Gillen when it comes to Laura Heaven, who is meant to be shorter, slightly fuller-figured and not quite as attractive as Penny B or Emily Aster. Only as Gillen points out, this is a world drawn by Jamie McKelvie, so 'less attractive is relative'.
It's Popular, Now It Sucks: Used In-Universe. Since the cast is made up primarily of people who are essentially indie music snobs with magic powers who draw their power from their indie music snobbery, this trope can appear from time to time. The crib sheets suggest that the authors aren't entirely free of this trope either. They do, however, at least demonstrate a bit of self-awareness about this, and in the first volume Kohl's Character Development centres around his, if not exactly abandoning this mindset, then at least deciding to be a bit less of a dick about it.
Jerkass: As he gleefully says in the first few pages of Rue Britannia, David Kohl is such a cock. (This leads to him being tricked and then beat down by The Goddess, just on principle, before she informs him someone's trying to resurrect Britannia and makes him try and stop it.) He gradually progresses to the outer fringes of Jerk with a Heart of Gold, however.
Nostalgia Ain't Like It Used to Be/Nostalgia Filter: The whole point of Rue Britannia; the retromancers are driven by their inability to let go of the music they love and the false youth it gives them, but in the climax David makes the not-invalid point to the Goddess of Britpop that she's better off being a much-loved relic of the past who accepts that her time has been and gone and she's not relevant any more, rather than a decaying relic who just keeps on going because she doesn't know how to stop and can't accept that she's irrelevant now.
Perspective Flip: The Singles Club, where every issue takes place from the point of view of a different character attending an event over the course of a single night, features a few of these. For example, one issue involves a girl building up to ask a guy to dance, at which point he brushes her off in a way that makes him seem quite cruel and rude. A later issue takes place from his perspective, which reveals that from his point of view he's distracted and depressed about something else when she asks, and doesn't intend to be malicious to her.
Unreliable Narrator: A back-up strip in "The Singles Club" tells the story of "Rue Britannia" from the point of one of Kohl's mates, a minor character in the earlier work. It's mostly a faithful retelling, if a bit vague as if to suggest that the other character didn't quite know what was going on at the time, but his story goes completely off the rails when it ends with him shooting what he presumes to be the bad guy with a huge gun and then going off to have sex with two beautiful women. Kohl is not particularly impressed with this addition to the narrative.