Americana at its best
J. Gardner | 05/13/2010
(5 out of 5 stars)
"This has been characterized as country, but I think it is more in the vein of early Wilco, Whiskeytown, Jayhawks, etc., flavored with more steel guitar, but just a touch of weirdness. If you liked that, then you should like or love this. It is truly an excellent and smooth album. Definitely the best of its genre in the past five years or so. Ever since Wilco derailed (somewhere around A Ghost is Born), there hasn't been much to like. I've tried to get into Horsefeathers, but honestly, that is only for certain moods. this is awesome, roll down the window on a late summer night long drive type of music. Or in the morning, or shooting pool and drinking whiskey. That's the great thing -- it works anytime."
Phosphorescent - Checked shirts and slide guitars
Red on Black | Cardiff | 06/04/2010
(4 out of 5 stars)
"Phosphorescent's Matthew Houck is probably one of those American writers and singers who knows that in ten years time a coterie of very hip young bands will record a huge tribute to his songs, that will knock up mildly respectable sales and they will name check him as an influence. Last year Houck did something very similar by recording a strong album of Willie Nelson covers which didn't go overboard on the usual song suspects but was a joy to behold.
Thus we have the latest release from Phosphorescent aptly titled "Here's to taking it easy" a warm slice of road weary Americana with the emphasis on country (slides guitars are everywhere) rather than rock and with a couple of classic dark songs thrown in for good measure. The highlights come in the form of the bright brassy opener "Its hard to be humble when your from Alabama" where Houck opens with the well worn country observation that "Baby, all these cities, ain't they all startin' to look all the same"?. Things get darker on two outstanding alternative country ballads the first "Tell me baby have you had enough" a love song in the form of an apology with a nice guitar solo that which will not leave a dry eye in the house . "The Mermaid Parade" is the albums true highlight and is another classic cracked heart ballad where Houck narrates a failed trip to the airport and wandering around Coney Island reflecting on a broken marriage and its consequences. With luck a Willie Nelson, Merle Haggard or even Ryan Adams (when he stops mopping around the place) will pick it up and turn it into a huge country hit. Finally mention should go to the gently amusing "I don't care if there's cursing" a rolling slide guitar driven song, and the eight minute plus Neil Young gritty guitar driven anthem "Los Angeles" providing a perfect finish to a very solid country album. Granted no new ground is broken here and if you don't like country stay clear, but like fellow artist Jason Molina, the songs of Matthew Houck are vulnerable and so tender and all his albums repay your investment."
A nudge forward
Samuel Gentle | New Orleans, LA | 05/27/2010
(4 out of 5 stars)
"Phosphorescent's last album Pride, although folk centered, approximated gospel. A fellow reviewer likened the listening experience to eating chicken soup: you feel just shy of healthy and about to be healed. The instrumentation remained so minimalistic that no elements were revealed upon repeated listenings, allowing ample room for the melody to carry the listener through. On Here's To Taking It Easy, changes are apparent from the first few seconds of the album. It almost sounds like Sufjan had a hand in producing it: the production is big, songs are comparatively swarming with instruments, and melodies sometimes struggle to carve out their niche.
One of the more unexpected additions is the consistent use of lap steel. For someone who grew up in Alabama but has lived in Brooklyn for several years, it seems oddly timed that Houck would now introduce it. It suggests a Southern quality that was never quite as present on his previous albums. Perhaps he's just homesick, but in context to other new elements like piano and brass it works pretty well to keep things grounded. However, the lap steel does sometimes overly enclose songs within an inappropriate box, due to its innate genre defining ability.
Some of Matthew Houck's, the man behind Phosphorescent, story arc approximates that of John Darnielle and The Mountain Goats. Solo guy does his own thing for a while, it's deeply personal, and then decides to go for heavier production and a full band lineup. The results are also similar in that they both succeed if you can relearn how to love them (for only slightly modified reasons). Whereas repetitive melodies made Pride a deeply therapeutic experience, the instrumentation on Here's to Taking it Easy lend the album movement and the ability to either culminate and swell or quiet down and simmer. What's more important is that the central affect and mood of the music was not sacrificed in the transition. Bigger instrumentation has the potential to dilute or quiet the voice of an artist. However, several tracks, including "Nothing Was Stolen" and "We'll Be Here Soon" maintain that Houck still commands the helm as he carries the songs with his somber yet uplifting tone.
That's not to say there aren't classic Phosphorescent moments that cut directly to one's core. "Hej, Me I'm Light" sways and moves with the self-reflective energy that made Pride so infectious. Additionally, the new and recent Phosphorescent are often organically synthesized, as demonstrated on the lengthy closing track "Los Angeles." Here, instrumentation and vocals amicably make room for one other and later swell as one. When ambitious artists push themselves, these are the results many fans hope for. That they can empower their music with something new, while maintaining their core so you aren't disappointed."
Track Listings (9) - Disc #1