Tommy Brull Foundation Presents Shine A Light Music Series
PHOSPHORESCENT (solo show)
THE DOUGH ROLLERS
49 N. Village Ave.
Rockville Centre, NY, 11570
Doors 7:00 PM / Show 8:00 PM (event ends at 11:59 PM)
PHOSPHORESCENT (solo show)
Muchacho de Lujo is the deluxe edition of one of 2013's most renowned albums, Muchacho, which garnered the coveted Best New Music (Pitchfork) tag as well as the adoration of The New York Times and Time Magazine. The bonus material is from an intimate pre-release live show, recorded at St. Pancras Church in London. The set, performed as a two-piece of guitar and piano, features standout tracks from across the Phosphorescent catalog including "Song For Zula," "Mrs. Juliette Low," "Wolves," and a cover of Waylon Jennings' "Storms Never Last."
Matthew Houck, for he is Phosphorescent, likes to work. The Alabama native, now resident in Brooklyn has delivered five albums as Phosphorescent since his 2003 debut. Houck has a highly distinctive artistic voice, but also a refreshing, rolled-sleeves approach to his expression, and if he had his way, he'd have twice as many albums under his belt by now. The singer-songwriter, multi-instrumentalist and producer is envious of the time when prolificacy was expected. "In the '60s and '70s, they were making artists crank out records every six months. With guys like Waylon Jennings, John Prine and even Dylan, I don't think those records would have gotten made in today's climate, because now you're allowed – or even required – to make a grand statement. I have this ideal – and I know it's not possible, because of the way the industry works – of making a record every year."
Muchacho reprises the understated melancholia and sensuous minimalism of Pride, while kicking up a little of Here's To Taking It Easy's dust, but it also strikes out into more adventurous waters via rhythm and electronic textures. It took shape if not quite by accident, then partly as a result of events beyond Houck's control. After spending the best part of 18 months touring his last record, Houck was, in his words "pretty fried." In late 2011, he returned to the Brooklyn Navy Yard studio where he'd recorded his previous two albums, planning "on taking this whole thing down a few notches. I wanted to make music," he explains, "but I was weary, so the spectre of putting anything out and getting back on the road was a bit of a block." In December, he bought a load of old analogue gear and "just starting playing around with it, making these noises. They weren't songs, they were just strange sound pieces. I've always had that element in my work, and one or two weird, ambient pieces seem to squeeze themselves onto every record, but suddenly I was doing a lot of those." Houck also turned into a bit of DIY electrician, since a lot of the vintage gear needed fixing. "I ended up spending a lot of time learning about stuff like impedance matching and ohms," he laughs. "I really got quite nerdy about how it all worked."
Houck also got very enthusiastic about the sonics that would eventually feed into the strikingly raw, Can-like, 'Ride On/Right On', where his simple, whooping vocal and 808 drum beats are the focus, the production is echo-heavy and the guitar little more than abstract background choogling. "I've always been happy with the records I've made," the singer says, "but sonically, I think there's been something lacking. This time, I was getting really excited about the experimental sounds I was making. I was thinking I might make an ambient record that had vocals, but no lyrics. I was actually considering releasing it under another name, or even my own name." So, a much-needed break, plus some enjoyable messing around with noise, without much thought as to how to use it. But, exactly as 2012 turned, Houck's life began to unravel. A domestic crisis meant he had to find another apartment/studio at short notice, in the dead of winter. In accommodation-squeezed New York. His life was falling apart, but almost perversely, "songs just started happening, and there were five or six of them." Houck admits he was "in the middle of a bit of a freak-out," so in the small hours one Sunday, he booked a ticket to Mexico, on a plane that was leaving three hours later. "It sounds really cheesy, but I went down there with a guitar and got a little hut on the beach in Tulum, on the Yucatan Peninsula." He spent a week there, working to finish the songs that would become Muchacho, then went back to NYC, found a new place, fitted it out with his studio and began tracking the record in May 2012.
If losing one's way results in something as lustrous as the first album taster 'Song for Zula', more artists should find life's maze and walk around for an indefinite period. It is such a glorious gem that unfolds with Houck's cracked vocal stalking the perimeters unabashed. And this amidst an album positively riddled with highlights like 'Terror in the Canyons' and superlative 'A Charm/A Blade'; all barreling piano and stabby horns galore.
It's indicative of Houck's distinctive talent, dedication to his work and trust in his muse, then, that a temporary hurdle didn't become a serious block. "I got clear of it by just getting to work on the recording," he says, simply. Sleeves rolled. Resolve fixed. Muchacho delivered.
THE DOUGH ROLLERS
The Dough Rollers started in 2008 when Jack Byrne and Malcolm Ford bonded over a mutual appreciation for blues music. Initially the band started as a two piece but quickly expanded to fit fiddler and singer Julia Tepper, just in time to start exploring other kinds of music the group was being influenced by. A self-titled album comprised of blues, country and just about everything in between was recorded and released in late 2009. After some time as a three-piece, the lineup returned to just Byrne and Ford so they could re-focus on their love for early blues music. An album, Someday Baby, made up of the blues that Byrne and Ford had crafted playing countless shows around the country, followed shortly thereafter and was released in a limited run. After the release of their sophomore album, the nomadic duo evolved again, though this time into a quartet, complete with bass and drums. This sudden change may have seemed unexpected, but it allowed the group to blend different influences and genres of music into something totally distinct. At first, the band featured a rotating rhythm section, but the lineup is now cemented with Josh Barocas on bass and Kyle Olson on drums. Recently the band has toured with Bob Dylan, John Mellencamp and Queens of the Stone Age and released a 7” on July 9th, 2013 via Jack White’s Third Man Records. They have also recorded an EP for release this fall with a single produced by Josh Homme (Queens of The Stone Age).
$20.00 - $50.00
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