Phosphorescent – Muchacho (2013)

I have been captivated by this album for the last two weeks or so now. Ever since I heard Matthew Houck’s “Wolves” sometime in late 2007 or early 2008, I have been loosely following Phosphorescent, but the last album unfortunately didn't warrant a review, so I think up until now, Phosphorescent has gone undiscussed on QCM. 

On Easter Sunday 2010 at The Independent in San Francisco (where I'll be tonight to see Portugal. The Man), White Hinterland and Bon Iver opened (yes, opened) for Phosphorescent. Most of the people in the audience were there for Bon Iver, specifically, and by the end of Phosphorescent’s set, most people had cleared out due to Houck’s shushing of the increasingly noisy Bon Iver following turned bar scene in the back. The gabbing during Houck's set was in stark contrast to the pin-drop silence Bon Iver was afforded. I hate when people talk during concert sets in small venues, so I have always had a somewhat special appreciation for Houck’s tender songwriting and fragile vocals, despite his hit-or-miss albums.

To me, Muchacho is Phosphorescent's most well-rounded album. The lyrics and songwriting across the board just seem more thought-out and less forced, albeit occasionally borrowed. “The Quotidian Beasts” seems to follow the chord progression of Chris Isaak’s "Wicked Game" – I even found myself mouthing “And I, want to fall in love” during the chorus build-up – and the single "Song for Zula" (below) leads in with a paraphrased reference to the infamous Cash-Carter "Ring of Fire" opening lines in singing "some say love is a burning thing / that it makes a fiery ring." Both are great tracks, and with each, the song takes on new and interesting shapes independent of the nods. My favorite of the tracks is "Ride On / Right On." With its head-nodding charisma and simplicity, "Ride On / Right On" paints a picture of what I view as a wild/fun, but ultimately unfulfilling, life and times. The core of Phosphorescent's sound is the facts that very few vocalists sing love-loss more convincingly than Houck, which may be his single most compelling attribute and shines through on tracks like "Muchacho's Tune," "Terror in the Canyons," and "Down to Go" – decrepit & touching enough that you just want to reach through the speakers and give the guy a hug. Well done on this one.

FNBP: Damnation Golden Ale & Bon Iver - Bon Iver (2011)

Both fragile and confident Bon Iver’s Bon Iver is a very solid follow-up to the immensely popular For Emma, Forever Ago and the Blood Bank EP. There is certainly more going on here musically than on his past offerings, with layers of instruments and some harder rocking; however, the music remains stripped down, intimate and emotionally impactful. I can’t count how many times I have sung “never gonna break, never gonna break” while sipping my morning coffee or slipped this album on while reading Cormac McCarthy's tales of savagery and hopelessness. From the album art to the music itself, the album just seems right for early mornings and quiet evenings. The soothing “Towers” is best while reclining into a comfy microfiber couch, with “Holocene” and “Calgary” coming in a close second place tie. As far as I’m concerned, the only blemish on Justin Vernon’s record is being associated with the New Moon Soundtrack, for which he was likely pleasantly rewarded, but I'm willing to forgive him for such a move when I am soaking up this album with a tall, cool Damnation in my hand.

Russian River Brewing Co.’s Damnation Golden Ale out of the 750mL cork finished bottle provides the perfect accompaniment to Vernon's sleepy falsetto and rustic instrumentation. Damnation is a smooth, but earthy beer with plenty of kick and a mouthful of flavor. It is a quintessential backwoods log-cabin beer (albeit a Belgian log-cabin) that could be consumed out of an old coffee mug or a tin cup, with the thick creamy head sloshing over into your bowl of waterzooi. The cork bottle is elegant much like a fine champagne, but the name and label make it clear that this is not a beer to be trifled with. Much like Bon Iver, it is a real strong effort for a wide range of occasions that I would certainly recommend to folks who haven't tried it yet.

NightraiN's Summer Short List

Light For Fire - Yes indeed, they have been mentioned already; however, this album is certainly good enough for more than one mention here. If I may make one suggestion: shoot a proper video.


The Shuffle (Dance) - Say what you want about LMFAO, but they know how to rock a vampire dance party with a very fun and ridiculously over-simplistic runningman-esque dance move that can turn even a trip to Ralph's into a fun outing. So easy it is brilliant. Every music group should incorporate an updated dance move into their persona.


Breezy Summer Jammy Jams - I feel like there has been a fantastic showing for the beachy / bbq tunes this year. The Vaccines, Tennis, Foster The People and Cults all released tracks that sound better with the warm sun on the back and a cold beer in hand. Granted, they all have their own sounds and styles, but I can't help but think of riding a cuiser to the beach when any one of those albums are on.


Dolorean's The Unfazed - Not to be confused with Delorean, the Portland-based band is a verifiable go-to for early mornings, quiet evenings and tender moments. The lyrics are perfect for a heartfelt singalong and the music pulls you in close with its soft sway.


The First Six Months of 2011 - In addition to the bands already mentioned, there have been many other artists that I have really been impressed with in the first six months. Bon Iver, Fleet Foxes and The Decemberists are all names many people already know and have shown us impressive stuff thus far; however, bands like U.S. Royalty, Magic & Fur, Scotch Howard, The Cave Singers and The Rural Alberta Advantage have surprised me with amazing albums as well that need to be heard.

James Vincent McMorrow - Early In The Morning (2010)

Remember when people went bonkers for everything Bon Iver? I do, because for a stretch there I was one of those people. James Vincent McMorrow may not revive the exact same feeling of "I hope it rains today so I can stay inside under a blanket and listen to For Emma, Forever Ago on repeat" to the full extent as Bon Iver,  but he takes a damn good stab at it. Perhaps more musically clean, complex and upbeat than his Wisconsin counterpart's record, the similarities certainly hold water, in no small part of the diverse use of acoustic instruments and falsetto vocals. Additionally, Early In the Morning was allegedly recorded under similar isolationist, introspective circumstances as For Emma, Forever Ago -- but this is far from a "copycat" effort. Tracks like "Breaking Hearts," "If I Had A Boat" and "Sparrow & The Wolf" all exemplify the exceptional talent rooted in McMorrow's musicianship and songwriting independent of references to Justin Vernon. So far this album has only been released in the UK (that I know of) so keep your eyes open for when it heads west. For now you can stream (legally) the full album here. Enjoy, I know I have.

Horse Feathers - House With No Home (2008)

Do you like hushed, wavering male folk singers? Because if you do, you need to check out Portland's Horse Feathers. The delicate vocals are backed by warm and supportive acoustic guitar, banjo, and cello. Justin Ringle's voice falls somewhere between Sam Beam and Justin Vernon. House With No Home feels sparse, as the musicians allow the music to breathe and the instruments to become quiet for a cappella sections. It's a really quiet album. I kept turning it up. The music almost seems reluctant to come out of the speakers. It's also quite beautiful and restrained. Check out the album art, it is perfectly matched to the music. My favorite tracks are "Working Poor" and "Helen".

Bon Iver - Blood Bank EP (2009)

The track “Blood Bank,” both lyrically and musically, is an excellent piece of song-writing that would have been a welcome addition to For Emma, Forever Ago. Musical simplicity joins Justin Vernon's yearning vocals and continues that feeling of haunting solitude that For Emma established so well. “Beach Baby” features one of my favorite instruments of all time, the slide guitar, and although it is quite good, it is far too short.

Those two songs get my blessing, while the other two just bore the shit out of me. I keep listening to “Woods,” and think out loud, “Why the hell did he have to go a use Kanye West’s vocal machine and ruin his sound?” Damn, vocoders are so lame, unless they are being used to prank call people. And “Babys” is four and a half minutes of annoying plunky piano. Seriously, those two tracks will forever be skipped.

So really, this is like half an EP (maybe more like a Single with bonus tracks) and "Blood Bank" is the only feature that really continues Vernon’s efforts in solid fashion.

Bon Iver - For Emma, Forever Ago (2008)

This is a very enjoyable, mellow album. Everything sounds heartfelt throughout this patiently, fine crafted collection of acoustic solitude. Primarily falsetto vocals are supplemented by an undertone of steady acoustic guitar and subtle sporadic snare and bass drumming... this gives the songs a beautifully captivating simplicity. For Emma is perhaps my favorite study/reading album that I have discovered so far this year—in the realm of Iron & Wine’s The Shepherd's Dog—and given the amount of time I spend studying, it may break into my favorite new albums overall.

For the uninitiated: "Blindsided," "Skinny Love," “For Emma”