Muchacho (2013)
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01. Sun, Arise! (An Invocation, An Introduction)
02. Song For Zula
03. Ride On / Right On
04. Terror In The Canyons (The Wounded Master)
05. A Charm / A Blade
06. Muchacho's Tune
07. A New Anhedonia
08. The Quotidian Beasts
09. Down To Go
10. Sun's Arising (A Koan, An Exit)

[] || []

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Bitrate: 239kbps avg
Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz
Label: Dead Oceans
Genre: Indie
Size: 84.60 megs
PlayTime: 0h 46min 28sec total
Rip Date: 2013-03-15
Store Date: 2013-03-15

Track List:
01. Sun, Arise! (An Invocation, An 3:09
02. Song For Zula 6:10
03. Ride On / Right On 3:44
04. Terror In The Canyons (The 4:05
Wounded Master)
05. A Charm / A Blade 5:20
06. Muchacho's Tune 4:19
07. A New Anhedonia 4:03
08. The Quotidian Beasts 7:04
09. Down To Go 5:16
10. Sun's Arising (A Koan, An Exit) 3:18


Release Notes:

Nearly three years on from his breakthrough album Here's To Taking It Easy,
Phosphorescent returns to the fray with his most stunning record yet: Muchacho .
During the last album's 'cycle', one could almost hear jaws hitting the floor
witnessing a live band of such infinite verve. Not only did the album draw high
praise in the form of Mojo's 'Album of the Month' (#8 End of Year), Sunday Times
& The Independent 'Albums of the Week', hit Rough Trade's Top 5 Best of the
Year, but the band also supported The National over the course of three sold out
nights at Brixton Academy, a show that The Independent gave 5/5 and called "a
sublime, joyous gig".

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 û or even required û to make a grand statement. I have this ideal
û and I know it's not possible, because of the way the industry works û of
making a record every year."

Houck may not have managed that, but still has an impressive output û one born
of commitment and his soul's need to have its say. It was 2007's Pride û a
delicate and spare, haunted and haunting work of ragged country, bittersweet
southern gospel and forlorn folk-ish drone û that first caused ears to swivel
appreciatively in Phosphorescent's direction. He followed it with To Willie, a
tribute to country legend Willie Nelson, then 2010's Here's To Taking It Easy,
an unapologetically enthusiastic plunge into country rock and rolling Americana.
Now, his sixth album flashes yet another colour in the subtly shifting
Phosphorescent spectrum.

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.

'Muchacho's Tune' û with its opening braid of twanging guitars, piano and
electric keys, its warm, rich reverb and poignant mariachi brass û is the song
on which the album turns. "I've been fucked-up and I've been a fool," confesses
Houck, who may or may not be the feckless man-boy of the title. This was the
first song to come to him fully formed, and it establishes the album's lyrical
theme û "that the possibility of redemption through love and romance is not just
hopeful, it's also viable. It definitely exists. But what ends up happening is
more redemption through some vague means that I don't really understand."

The album is perfectly framed by 'Sun, Arise! (An Invocation, An Introduction)'
and 'Sun's Arising (A Koan, An Exit)', the opening and closing tracks
respectively. Sweet, healing and hugely potent in their hymnal simplicity, they
not only recognise the diurnal rhythm that governs our existence, but also
remind us that however dark things might get, the light will always reappear.

'Muchacho's Tune', the somber and majestically slow 'A New Anhedonia' and the
seductively loose 'The Quotidian Beasts' are the album's fullest songs in terms
of instrumentation and arrangements. Houck called on around 20 musicians at
different times to add various parts, including members of the superior
five-piece live band that has recently made such an eloquent and physically
powerful contribution to Phosphorescent's soulful expression. But the album's
composition and production are again all his own. "It's really always me by
myself, so much so that with Pride, no one else played anything. I have a group
of really great dudes, and I'll happily trumpet how fantastic these guys are,
but a band going into the studio, as one? That never happens." 'A New
Anhedonia' û a gorgeous, charcoal grey song on which understated piano, soft
brush work and ripples of pedal-steel guitar are matched with heavy reverb and
gently sighing backing vocals û was the second song to come fully formed to
Houck. And the crisis it describes was resolved by the very writing. Anhedonia
is a loss of the ability to take pleasure in something the sufferer usually
finds enjoyable, and Houck experienced it in those winter months following that
grueling tour. It's quite a shock to hear him murmur, "all the music is boring
to me" and then describe music as "foreign", but that's how he felt for a short,
dark while. "In addition to what was going on in my personal life, music had
always been the most reliable thing for me, but I had a few really lost months
of not caring about it, of not deriving any pleasure from music. I felt detached
and adrift from everything. Oddly enough, I don't think I knew the word
'anhedonia'; it just kind of popped up right around the time of writing that
song. That dread was still quite prevalent, even after the batch of songs came

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.
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Artist : Phosphorescent
Album : Muchacho
Label : Dead Oceans
Genre : Alternative
Street Date : 2013-00-00
Quality : 239 kbps / 44.1kHz / Joint Stereo
Encoder : Lame 3.98.4 -V0
Size : 84.60 MB
Time : 46:28 min
Url :


1. Sun, Arise! (An Invocation, An Introduction) 3:09
2. Song For Zula 6:10
3. Ride On/Right On 3:44
4. Terror In The Canyons (The Wounded Master) 4:05
5. A Charm/A Blade 5:20
6. Muchacho's Tune 4:19
7. A New Anhedonia 4:03
8. The Quotidian Beasts 7:04
9. Down To Go 5:16
10. Sun's Arising (A Koan, An Exit) 3:18


I'm sorry, guys. Phosphorescent-Muchacho-2013-404 nuked : rsn:

Here is the proper, proof and all.

Matthew Houck has a highly distinctive artistic voice and a refreshing,
rolled-sleeves approach to his work. 2007's Pride a spare and haunting work
of country, southern gospel and forlorn folk-ish drone first caused ears to
swivel in Phosphorescent's direction. He followed it with To Willie, then
2010's Here's To Taking It Easy, an enthusiastic plunge into country rock
and rolling Americana. Now, his sixth album Muchacho flashes yet another
color in the subtly shifting Phosphorescent spectrum.

ifolder / turbobit
Phosphorescent - Muchacho de Lujo (Deluxe Edition) (2013)

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Artist : Phosphorescent
Album : Muchacho de Lujo (Deluxe Edition)
Year : 2013
Genre : Indie Rock
Quality : mp3
Bitrate : 320K/s 44100Hz Joint Stereo
Total Playing Time: 02:00:19
Total Size : 271 MB


CD 1

1. Sun, Arise! (An Invocation, an Introduction) (3:09)
2. Song for Zula (6:10)
3. Ride On / Right On (3:44)
4. Terror in the Canyons (The Wounded Master) (4:05)
5. A Charm / A Blade (5:20)
6. Muchacho's Tune (4:19)
7. A New Anhedonia (4:03)
8. The Quotidian Beasts (7:04)
9. Down to Go (5:16)
10. Sun's Arising (A Koan, an Exit) (3:18)

CD 2

1. Muchacho's Tune (Live at St. Pancras Church) ( 5:37)
2. A New Anhedonia (Live at St. Pancras Church) ( 5:27)
3. Song for Zula (Live at St. Pancras Church) ( 6:31)
4. A Picture of Our Torn Up Praise (Live at St. Pancras Church) ( 5:39)
5. We'll Be Here Soon (Live at St. Pancras Church) ( 3:55)
6. My Dove, My Lamb (Live at St. Pancras Church) ( 8:43)
7. Terror in the Canyons (The Wounded Master) (Live at St. Pancras Church) ( 4:39)
8. Storms Never Last (Live at St. Pancras Church) ( 4:38)
9. Down to Go (Live at St. Pancras Church) ( 6:48)
10. Wolves (Live at St. Pancras Church) (10:15)
11. Mrs. Juliette Low (Live at St. Pancras Church) ( 4:11)
12. Los Angeles (Live at St. Pancras Church) ( 7:15)

part 1 zippy
part 2 zippy
Phosphorescent - С’est La Vie (2018)
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mp3, 320kbps

01. Black Moon / Silver Waves
02. C’est La Vie No. 2
03. New Birth in New England
04. There From Here
05. Around the Horn
06. Christmas Down Under
07. My Beautiful Boy
08. These Rocks
09. Black Waves / Silver Moon


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