Mount Eerie

Believe it or not, there’s someone out there with a semi-original approach to recording rock music. Here’s the formula; a low-fi, conceptual album with elaborate production and a minimalist approach. Is that an oxymoron? In fact, when typed out in front of me that sounds like the most ridiculous thing I’ve heard since the last Avril Lavigne interview I read. Phil Elvrum is the Microphone, and Mount Eerie is his latest effort in a attempt to swiftly follow up his consecutive low-fi classics It Was Hot, We Stayed in the Water and The Glow Pt.2.  

Elvrum’s last three albums have had the concepts of air, water and fire, but rumors of the nature-oriented concept for Mount Eerie proved wrong upon its release. Elvrum went into recording with the intention to make a concept album once again tackling the theme of nature and came out with an album focusing on the curiosity of space and, well, very big things. Upon hearing Elvrum-cohort Mirah sing “Do you really think there’s anybody out there” on the track “Universe,” its clear that this album doesn’t share the simple focus of Elvrum’s past efforts. The first 10 minutes of this 40-minute opus consist mainly of drum rhythms and various sounds (including what seems to be a tug boat), providing one of the most undeniably epic introductions in quite some time. At the end of the first track, “The Sun,” Elvrum drops the drums and kicks in his trademark sound that will surely have any fan of The Glow Pt.2 crying tears of joy.

Whenever space is the topic, people typically think sci-fi and theory. Thankfully that’s not the case on Mount Eerie. Mount Eerie is a medium-sized mountain in a town where the next biggest thing is probably the new Walgreens on the corner where the little church used to be. Staring at Mount Eerie provides the curiosity needed to start wondering “what’s out there,” and “what does it all mean,” thus fueling a 40-minute album of progressive wandering. While the actual concept might be space, it’s the notion of curiosity that gives Mount Eerie its charm.

Unlike Nigel Godrich or any other hotshot super producer, Elvrum will not have to fend off comparisons to such past heroes as Brian Eno or Phil Spector. Elvrum has verified his pop capabilities (see Mirah’s Advisory Committee LP) but like Eno, typically chooses to take the abstruse road. This is the case more so than ever with his new album. At times Mount Eerie is so drenched in ideas and tricks that it’s hard to understand what Elvrum was even trying to accomplish. Upon repeat listens Mount Eerie starts to click. All the things that initially threw you off seem to be just right.

Mount Eerie is not only the first great album of the new year, but also the best concept album since The Flaming Lips introduced us to Yoshimi. Love him or hate him, it’s hard to find a rock formula that Elvrums’ The Microphones projects followed.   10/10

Written by G. William Locke