“Revelator” Phosphorescent
8th studio album for indie folk/Americana singer-songwriter, Matthew Houck. Houck’s albums have often been somewhat raw and contemplative, but this is one of his most weary and sad. On the opener (which he suggests might be “the best song I’ve ever written”), Houck sings, “Now how can I get it right?/I don’t even like what I write/I don’t even like what I like anymore.” And yet he carries on, offering comfort along the way. The nine-song set delivers heartfelt, honest reflections on life—with its shared sorrows, anxieties and unpredictable outcomes. The melodies are captivating, and the arrangements are layered with guitar, piano, organ, synths and strings supporting Houck’s gravelly vocals and rich harmonies. RIYL: The Tallest Man On Earth, Matt Berninger, M. Ward, Kevin Morby or Bill Callahan.
— Francis

Recommended: 1, 6, 9, 2, 4, 5. FCCs on Track 10 (unedited version of track #8).

1. (4:53) Revelator — Soft, smooth shuffle with pedal steel guitar prominent over lush strings and a lightly skipping rhythm. Lovely and reassuring, even while singing about isolation and loneliness. First single. ****
2. (3:38) The World Is Ending — A slow, sorrowful ballad that sounds almost alt country. Organ with jangly guitars and swelling strings. Vocals are reminiscent of Randy Newman. Written by Nashville’s Jo Schornikow. ***
3. (4:07) Fences — Swaying, with lilting vocals and strings washing over a constant bass drumbeat. Angelic choir-like backing vocals. Pedal steel guitar carries the lead break.
4. (4:36) Impossible House — Shimmering, slightly noisy rock bed driven by a repetitive rhythm. Piano, guitar and pedal steel. Builds to become bigger and somewhat strident toward the end. ***
5. (5:41) Wide As Heaven — Meandering, mesmerizing and dreamy. Synth, piano and strings. Morphs into an otherworldly (end-of-the-world-y?) wash over the final two minutes. ***
6. (6:08) A Moon Behind The Clouds — Up-tempo shift. Recalls Paul Simon from the 70s. A hint of islands rhythm and lighter lyrics, supported by strummy guitar, an energetic bass line, Wurlitzer organ and airy strings. ****
7. (4:50) All The Same — Another sad, slow one. Very deliberate pace. Pedal steel guitar crying in the mix. Houck’s vocals rise and fall, reminding us, “It’s all the same.”
8. (4:36) A Poem On The Men’s Room Wall (Radio Edit) — Philosophical observations on life over an ethereal wash, with some lyrics taken from graffiti Houck apparently borrowed from the stalls in a men’s room.
9. (6:56) To Get It Right — Rambling, optimistic epic slowburn with Houck’s vocals at the top of his register. Soaring organ and keys. Simple rim-tap rhythm. Prominent pedal steel guitar once again. Pondering how hard it is “to get it right.” ****
10. (4:36) A Poem On The Men’s Room Wall (Unedited) FCCs: cock (four times) — Unedited version of Track 8.