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.

MusicfestNW: Free Marmoset Music Party

Just when you thought MusicfestNW couldn't get any better,  it does. Marmoset Music is hosting a free two stage day-long party at Rontoms on Sunday September 11th, featuring cheap beers and some of my favorite local and regional bands. This is godsend if you are like me and going to miss Dolorean on Thursday at Bunk Bar (I'll be at Charles Bradley). But I'm just as excited to see Light For Fire and Black Whales, both of which have great new albums out. And then there's Pancake Breakfast and Hey Marsailles. Judging from the set times, it is going to be nonstop music from to 2 to 11, so I'll probably be there as soon as the bacon washes away the hangover and kicking it until I'm ready to drop.

Set times after the jump.

Wilderness of Manitoba - "November"

I know it's the middle of summer, but that's when I'm most likely to trapse around in the woods and, if my friends were more talented, we would all sing and strum around a campfire like the Wilderness of Manitoba, whose backsides are apparently more impervious to the winter chill than mine. Unfortunately, I don't think any of my friends are capable of the beautiful and hushed harmonies on "November," so I'll just have to settle for seeing the band play at the Mission Theater on Friday, August 26th when they open for the Cloud Cult.

Waters - Out In The Light (2011)

While Port O’Brien was great, especially the boisterous “I Woke Up Today” and its equally playful video, I love Van Pierszalowski’s new band, Waters even more. It’s quickly becoming one of my most played albums this summer. Decidedly more indie rock than folk, Waters is also louder and feels more emotionally raw. “For The One” (mp3) kicks off the album with a blur of catchy fuzz that just begs to be turned up, as if the guitar was playing through blow out amps. Two of my other favorites on the album similarly embrace the rock n’ roll spirit — “Back To You” is driven by thumping drums and vocals escalating at the chorus, while “Take Me Out To The Coast” incorporates remnants of his old band’s communal sing alongs. However, not all of the album is pushed into the red, it's actually quite balanced. The quiet strumming on “Mickey Mantel” highlights a wonderful yearning chorus. If only all my favorite bands came back this strong after breaking up.

Waters plays at the Branx on Thursday with Mister Heavenly.

WATERS - For The One by cityslang

The Middle East - I Want That You Are Always Happy (2011)

While I Want That You Are Always Happy, is technically The Middle East's first full length album, this by no means reflects their maturity as musicians. A blending of genres defines The Middle East's sound, from the more folky Fleet Foxes tones in "Months" or "Ninth Ave Reverie," to an ambient instrumental in "Sydney to Newcastle," to a meditative hymn in "Mount Morgan," to a more familiar indie rock sound in "Jesus Came to My Birthday Party." A plaintive tone is struck from the beginning and continued throughout the album, starting eerie and introspective in "Black Death 1349" and "My Grandma Was Pearl Hall." Though mixing genres can easily frustrate, The Middle East never strays too far from its folk foundation — well formed harmonies and instrumentation creates an emotional and personal album. Less upbeat than fellow Australians, Boy and Bear, the album has its share of faster tempo tracks to balance out the album. Check out "Jesus Came to My Birthday Party," "Land of The Bloody Unknown" and "Hunger Song."

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.

Fleet Foxes - Helplessness Blues (2011)

While the Sun Giant EP and self-titled album generally caught everyone off-guard with newfound baroque, minstrel pop stylings of woven harmonies and rhythmic acoustic pluckings, three years later everyone knew what to expect from Helplessness Blues. As my most anticipated album of 2011, I was itching for new Fleet Foxes, due in no small part to listening to any and all Fleet Foxes on repeat throughout the California Bar prep period. The group bring a big(ger) sound on many of the tracks with more prominent instrumentation accompanying the formally vocally-centric emphasis. The group still maintains that coming-of-Spring feel, which is what fans have come to know and appreciate, reveling in the free-spirited harmonizations and frolicky folkiness that makes the album, and their corresponding live shows, stand tall above the current indie folk noise. It is a complete album, running a range of tones, with "Battery Kinzie" providing drum-driven, soaring vocal harmonies, "Montezuma" for melancholic movements, "Helplessness Blues" for the single-structured, catchy chorus; however, for my money, it is the strummy, pace-changing "The Shrine / An Argument" that embodies what I love about Fleet Foxes... multiple melodies and moods in one song. Excellent from beginning to end, this effort fills a much needed void in my personal collection — some songs to whistle to, sing-along to, stum to, or (even) wave your hands in the air like a symphony conductor to, this album takes hold and only lets go at the final, wavering notes.

Credit to Nesto for his insightful comments.

Monarques, World's Greatest Ghosts, Jared Mees & Light For Fire

In a city rich with musical talent, where practically every night promises a couple exciting shows, it's easy to fall behind. With four great local bands playing the Doug Fir on Friday night, this is your chance to start catching up.

Light for Fire's self-titled debut celebrating failed romances and their aftermath is one of my favorite albums this year and they are great live. I'm also excited about hearing a couple great new indie folk rave-ups from Jared Mees & The Grown Children, who are releasing Only Good Thoughts Can Stay next month. World's Greatest Ghosts have been off my radar lately, but I'm looking forward to dancing to their catchy synth-fueled indie rock. The night closes with up-and-coming retro poppers, the Monarques, who should be refreshed from their SXSW trip and gearing up to launch their debut sometime later this year.

This concert should not be missed. Plus it's a steal at only $10.

AgesandAges - Alright You Restless (2011)

Like neo-hippies, Edward Sharpe & The Magnetic Zeros, AgesandAges sound like an idealized front porch family sing-along. Just about every song off Alright You Restless exudes a friendly communal feeling, to the point where the band must regularly discuss whether they are or are not a cult. I first discovered AgesandAges, along with Boy Eats Drum Machine and Light For Fire, on last summer’s PDX Pop! Now compilation. “No Nostalgia” stood out with its wonderful rolling rhythm, buoyed by spirited group harmonies, and a catchy call and response. The rest of album roughly follows that basic formula, with a guitarist and percussionist anchoring the songs, while the rest of the seven member band fills out the sound and shares the lead and backing vocal duties. The rustic nature and appearing simplicity of the songs belie the many tempo changes, vocal arrangements, and intricate musicianship. For example, when male vocals lash through the choral pop towards the end of "When I Was Idle." I love the entire album, but the galloping “So So Freely” (mp3) and ringing “Souvenir” are two of the other standouts.


AgesandAges "Navy Parade (escape from the Black River bluffs)" HD from Alicia J. Rose on Vimeo.

Wye Oak - Civilian (2011)

Tex says: I came across Wye Oak's 2009 album, The Knot on a Most-Underrated-Of-The-Year list. The talented duo of Jenn Wasner and Andy Stack make a lot of sound for two people, with Wasner strumming and belting while Stack covers both bass and drums simultaneously. Together they create powerful, noisy, folk-tinged rock songs that are entrancing and interesting. The Knot certainly grabbed my attention, and their 2010 EP, My Neighbor/ My Creator, cemented them as a band I'd be watching closely. I got the chance to preview their newest effort Civilian this week, and at first listen or two, I was a bit disappointed. From their sound on last year's EP, I was kind of expecting some more up-tempo songs, which Civilian does not provide. However, I found myself compelled to play it again... and again... and now my play count for the week is 8 times. I'm now hearing a lot more complexity than I initially did, in both instrumentation and song-writing. Wasner's vocal character continues to deepen and expand with each new song I hear from them, and I can't get her voice out of my head. It's a wonderful kind of haunting. Let Wye Oak in and they'll find a place in your head to set up shop.

Dolorean - The Unfazed (2011)

Dolorean's The Unfazed is so goddamn beautiful. It’s the kind of music that’s perfect for slow mornings or late nights or really anytime during these long gray winter months in Portland. Suffice to say, it’s been on heavy rotation lately. And with uncertainty looming at work, the strolling “The Unfazed” (mp3) has become my mantra. I find comfort in singer-songwriter Al James’ hush tones and numb perseverance to life's obstacles and opportunities: “Unfazed by pain, unfazed by love, unfazed by rain that won’t let up”. The album is rich with lush and gentle harmonies, like on two of my favorites: “Country Clutter” or “Thin Skinned.” But it hard choosing favorites when the songwriting is this good. It also is worth picking up the Anticipation Blues EP because two of the four songs are great and somehow not on the album.


Dolorean - The Unfazed (Live at OPB) from opbmusic.org on Vimeo.

Boy & Bear - With Emperor Antarctica (2010)

In 2008, Mumford & Sons released a few low-profile EPs and then shook-up the indie folk rock world in 2010 with the release of their LP, Sigh No More and a handful of viral, artistic HD music videos. Could Boy & Bear be destined for a similarly rapid rise to prominence? Everything seems to be in place for that to become a reality. Multi-instrumentational indie folk rock jams are accompanied by soaring choral harmonies that, if you have been listing to anything indie these days, should sound like many other bands. Fleet Foxes, Local Natives, in addition to Mumford & Sons come to mind, and that is totally copacetic. The tracks can be both enthusiastically uptempo in addition to thoughtfully poetic. Boy & Bear seem to be doing all the right things: HD music videos? Check. Addicting EP? Check. Two word name separated by an "&" sign? Check. Now all we need is a feature length release and they are good to go. I look forward to the full length effort although I anticipate, like with M&S, some of the best tracks, such as "Mexican Mavis" and "Blood to Gold," will make repeat appearances.

U.S. Royalty - Mirrors (2011)

Occasionally, the quality of an entire album can be overshadowed by a single, excellent track. “Equestrian” (mp3) is the kind of song that can have that dominating presence — it’s that good — however, the rest of the tracks off of Mirrors hold their own and make up one hell of a rocking album. At times, such as on the laid back, summary “Vacation, Vacation,” the D.C. based, indie folk rock outfit sounds like a harder rocking, less delicate Fleet Foxes, while tracks like “Monte Carlo” (mp3) infuses 70s classic rock harmonies and vibe that echos of Fleetwood Mac, minus the female vocals. It is also hard not to love the soft falsetto chorus on “Fool To Love (Like I Do)” and they way the plugged in "Hollywood Hollows" slinks and struts, its cheery chorus contrasting with the darker riffs. Good stuff.

Pick up this awesome album on January 25.

Bravestation - 2010 EP (2010)

We don't have an EP section in the QuickCrit Music Survey, but if we did, I think this would probably take my top spot. These four dudes out of Toronto lace pleasant vocal harmonies over rhythmic, indie synth pop for a combination that is both winsome and dreamy. The sound is super clean with hints of Yeasayer's creativity and folk-influenced fun. "White Wolves" is probably the catchiest of the tracks, but the other 4 are all enjoyable and well-balanced. With two EPs under their belt, 2011 may be the right time to release a full-length offering. After thoroughly enjoying these stellar tracks for the last few months of the year, I will be ready for some new tunes courtesy of Bravestation.

Download the 5 song EP free & legal here.

Y La Bamba - Lupon (2010)

Y La Bamba are quietly creating some serious local buzz. I wouldn't be a bit surprised if they became Portland's next big band. Their music is pretty and ethereal, and makes for good nesting music as Portland settles into the colder, grayer months. Like Beirut, the band builds upon folk music from around the world. Lead singer, Luzelena Mendozarom, has a distinctive old-timey warble that took me a little while to truly appreciate. "Juniper" stands out as the obvious single, in that it exemplifies all of the best elements of the band. Mendozarom's voice ranges from smoky to soaring, and is backed by great male harmonies and really powerful, simple percussion. "November" (mp3) is a great rock song that actually feels like November, with mournful strings contrasting against an upbeat summer tempo. The musicianship on the album is fantastic, alternating between ornate and quietly sparse when it fits the song.

They are opening for fellow QuickCrit favorites, Horse Feathers, at the Doug Fir on tonight and Saturday.

The Weepies - Be My Thrill (2010)

One of my resolutions next year will be to actually write a damn review once in a while, especially for albums that seriously knock my socks off. Then I realized that Quickcrit's year end list would be a great place to start. Normally, I'd be inclined to post a spoiler alert about the following review, but it's no secret that I love The Weepies. That's right, they're my number one this year. I loved this album so much that it was almost a lie to single out only one song as my favorite.

Be My Thrill is a lot more upbeat than their last album and in my opinion, is their best to date. It's unapologetically filled with infectious sunshine and love in "I Was Made for Sunny Days" and "Add My Effort" -- no doubt influenced by parenthood and their two sons. Their optimism, however, is balanced with a little reality in "Please Speak Well of Me" and "You're So Hard to Please". I can't help but wonder if "Be My Thrill" was written in the throes of infant or toddler-hood:

Be my thrill / My little white pill / My unpaid bill / The one who will
Be my love / My little gray dove / My push and my shove / My heaven above
And we tumble down like Jack & Jill
And I miss all of the joy you kill
But I love you still
Be my thrill

I laughed aloud the first time I really listened to the lyrics with a cranky, but fantastic three-month-old wiggling in my lap. I'm bummed that we missed The Weepies when they came to Portland in October, but Awmercy and I were quite occupied with our own little thrill. Let's hope baby Miles likes indie pop as much as his mama, because The Weepies will be a staple in our living room, his nursery, and the car.

McDougall - Our New Histories (2010)

McDougall is folk-singing hurricane of a one-man band, pounding out the bottom end on a kick drum and high hat as he powerfully strums his guitar. Our New Histories is full of tales of traveling, colorful characters and their lives. This is music for and about people. McDougall's lyrics have a confident stride and almost sound like a preacher's parables. When the songs build they gain a sense of foreboding urgency, as if fire and brimstone might rain down at any minute. Like the Builders and the Butchers, the impending doom on "Around This Fire" and "18 Days Of Rain" (mp3) sounds like a celebration. More upbeat songs, like "Line By Line" and "Time To Move" seem ready to hop off the boxcar and lead the crowd to the dance hall. He commanded the stage when I saw him open for Hillstomp a couple weeks ago, and the album captures that same excitement and devilish glee that made me a fan.

Freelance Whales - "Enzymes"

Here's the newest single from the Freelance Whales. They've partnered with Green Label Sound to give away "Enzymes". It features a group harmonies, tinny keyboard, and shimmering chorus that pulls the song out of the melancholy. Basically, it's more of the pretty indie pop that made Weathervanes so popular.

You can catch them, along with the Miniature Tigers, at the Doug Fir on Sunday, November 21st.

Mt. Desolation - "Departure" Video

Check out this video for "Departure" and tell there it isn't reason enough to show up early to the long sold out Mumford & Sons show. Apparently, the band is made up of members from Keane, Noah And The Whale, Mumford & Sons and The Killers. It may read like a band scramble pulled from a bad music review, but judging from "Departure" it somehow works.

Frightened Rabbit @ Wonder Ballroom

There is no better time to see a band than when they're on tour supporting the album you love, and nothing better than when they deliver. I've been heavily playing Frightened Rabbit's new album for months and after Saturday night's concert at the Wonder Ballroom, The Winter Of Mixed Drinks is quickly becoming a contender for my favorite album this year. In fact, it was such a fantastic performance I may try and slip The Midnight Organ Fight back onto this year's list.

What's your favorite song? Oh, they played it. Or at least they played every single song I love off their last two albums and they nailed each one, pouring out emotion and energy for an hour and a half. They genuinely were excited at the crowd's enthusiastic reception, and responded by playing a couple requests, including a B side the band could barely remember. You cannot afford to miss this tour if you are a fan.