Counterpoint - Phosphorescent

Counterpoint

Phosphorescent

Pride

(10.2007, Dead Oceans)

8.5/10

We have often discussed dueling reviews here at Forest Gospel but have yet to find an album for which we held widely divergent views while maintaining similar interest levels. I think Phosphorescent's Pride is now the first instance where this has been the case. We have both been sincerely interested and now, after viewing Sassigrass' review, have differing views on the album at hand. A burst of meandering avant country, Phosphorescent's third album should be the album to breakout him out of his previous undercover status. Lulling you away into a dream land, the album is brimming with atmosphere and space in its nooks and crannies. Phosphorescent is no hurry. Each track carries layers and layers of almost choral vocals from Phosphorescent and friends creating an organic entity that flows like a powerful stream. The effect is beautiful and beguiling. The album manages to haunt without being scary and sooth without being soft, finding that sharp edge between overly accessibility and alienation. In contrast to Sassigrass, I feel that "Wolves" is perhaps one of the most charming tracks. As one of the singular songs that has Phosphorescent leaning on his sole vocals without the choral layering, "Wolves" embodies the strength of his voice when stripped of embellishment. Each track reveals something new, something different making Pride an easy album to listen to from start to finish. In an admission, Pride can become a little belabored toward the end but manages to hold onto its vitality solely because of the strength of Phosphorescent's voice. Not perfect, but definitely worth the attention it seems to be getting as of late.

-Mr. Thistle

Phosphorescent - Pride

Phosphorescent
Pride
(10.2007, Dead Oceans)
5.5/10

Pride has me so confused. I am incredibly split on this album, probably more so than ever. There are tracks that I love and can listen to on repeat all day long, but there are some tracks that make me cringe. I can hardly get through them in order to review the album. It's a complete Dr. Jekyl/ Mr. Hyde transformation as Matthew Houck voice goes from hauntingly beautiful to nails on a chalk board obnoxious, and the music goes from mellow experimental to the slowest most boring and whiny alt-country you've ever heard. The sleepers number in about half, but the tracks that are good are SO good that it's definitely worth a listen. Opener "A Picture Of Our Torn Up Praise" sounds exceptionally good on vinyl. It has a layered howling Houck, a low bass percussive rumble, a gorgeous melody and beautiful movement between chorus and verse. "Be In The Dark" and "The Waves At Night" are slow, but not quite to unbearable yet. they still contain the layered folk yips and tunes, and are very reminiscent of being inside cuddled up during a thunder storm, or walking along an Oregon coastline. "At Death, A Proclamation" is a modern day Paul Simon's Rhythm Of The Saints, and my favorite track on the album. It's a redemptive track with swelling vocals and rudimentary percussion. Those are the four best tracks. Those along with the incredibly annoying "Wolves" are the first five tracks of the eight track album. The last three songs slowly sinks into monotonous country with crawling brush stick drumming. I can't finish the album very often. I'm not joking when I say it's unbearably slow and whiny. So there it is, leaving me confused and wondering.

-Sassigrass

Phosphorescent - "A Picture Of Our Torn Up Praise"