Live In Japan

On 2003’s Mount Eerie, Phil Elvrum used dense production and an overload of ideas to create lush soundscapes while, telling a story of his romanticized battle with the night. Elvrum’s imaginative texturing and overall production schtick once again took precedence, leaving his lyrics secondary. On The Microphones’ latest release, a live album full of all new material, Elvrum flips his stance, this time, focusing on lyrics, and, dare I say it, taking a shot at the singer-songwriter genre. 

After spending nearly half a year alone in Norway (rooming in random fans’ houses), Elvrum worked out a batch of new songs and announced one last tour under his ‘The Microphones’ cachet. Written and performed in the spirit of the early 70s, wandering Neil Young, Live In Japan depicts Elvrum as a free spirit, reinventing himself as well as any accomplished artist could wish to do.

Fans of Mount Eerie and The Glow Pt. 2 can rest easy. While Japan is a new approach for Elvrum, it still manages to highlight his nature-adoring charm and uniquely detailed vocals. Most importantly, the new batch of songs feel like a step forward in the progression of The Microphones’ music. Eerie blew Elvrum’s primary influences (Eric’s Trip, The Swirlies) out of the water and, in turn, opened up the door for him to refocus and begin spending more time on his lyrics and singing, two things that typically gained mixed reactions from his listeners.

Back to the Neil Young thing. Elvrum doesn’t embody the free-wheeling spirit that often inspired Young’s writing. He does, however, very much manage to sell his emotions and genuine personality with an enormous amount of skill, just as Young has always done so naturally. Always positive and seemingly happy, Elvrum expands simple ideas into deep, sweet songs that balance uniqueness and timeless qualities effortlessly.

Song topics range from failed relationships, to living “in exile” with “great ghosts” in his mind, to his mixed feelings and adoration for Neil Young, to a special (yet dysfunctional) Thanksgiving get-together that has almost nothing to do with Thanksgiving - just to name a few. On the album’s centerpiece, the 11-minute “Universe Conclusion,” Elvrum attempts to ground his listeners through simple, modest lyrics, singing “there are seas beyond those seas, / there are stars behind those stars, / and there are nights darker than this night,.” As the song builds, Elvrum becomes more and more convincing and emotional, eventually exploding. “Universe” ranks amongst The Microphones best moments to date.

Japan‘s 11 song’s include three very short works intended to do nothing more than charm the listener, the epic “Universe” and seven standard-length songs with ranging levels of instrumentation. While a few songs remain calm and simple, the majority of Japan has charming details scattered throughout it’s sometimes rocking, always interesting backdrops.

Mount Eerie was so big and powerful that it seemed like The Microphones would have no where else to go. Instead of taking his thematic ambition up yet another notch, Elvrum has decided to concentrate on writing singular songs. The Microphones have yet to disappoint their fans, Japan may leave some feeling less enthused, but in the end it should prove to be a great passage into wherever Phil Elvrum plans to roam from here. As was the case at this time last year, the Microphones have put out the best thing I’ve heard so far this year.   8.5/10

Written by G. William Locke