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Mount Eerie
Song Islands, Vol. 2
Phil Elverum, the man behind the always busy Mount Eerie (fka The Microphones), has recorded as many big productions over the last decade as anyone, only slowing once during his current run to record the minimalist indie hit Lost Wisdom. Like any DIY recording junkie, Elverum has accumulated a giant mess of leftovers through the years, the first batch of which, titled Song Islands, was released under The Microphones moniker in 2002. Now, with Song Islands, Vol. 2, were have the first batch of Mount Eerie-era songs that didn't appear on any of the many proper records released over the last eight years.
The result is a very long double album (available as either a download or four-side LP) that, while always sounding like Elverum (due to his unique and detailed production sound), is all over the place. Opener "Where?" works as more of a loose intro to the record than a song, quickly easing its way into "Calf In Pasture," an instant standout and one of my personal favorite recordings of 2010. The song - slow, gentle and groove-driven - is classic Elverum, displaying his word power, otherworldly production sound and, maybe best of all, his always-growing vocal style (which, like all things Elverum, is unlike any other artist out there). Next up on the 31-track odds and sods record is "The Intimacy," one of a few of the collection's works that feature two or three distinct movements, going from drum/bass instrumental to delicate songwriter work in the blink of an eye.
"I Whale," featuring goofy female backing vocals (is that Mirah or Woelv?), reminds very much of The Microphones days, passing quickly, keeping the collection going strong. In fact, aside from "Instrumental," I can't find a single song on the first two sides of Vol. 2 that I'm not very much in love with. "Where Is My Tarp," a song I'm fairly sure appeared elsewhere in the deep catalog (possibly with a different title) is another huge standout, going at first from creepy score to gentle songwriter cut to left field pop song over its four-minute duration. Two other songs, "Don't Smoke" and "Get Off the Internet," are a bit self important and judgmental, lyrically speaking, but also beautiful. As a person who hates cigarettes and IAKs (Internet Abuse Kids) quite a bit, I can't say that I disagree with the messages of the songs. They're just a little too forward in their delivery. And damn, those arrangements are top notch stuff that should've been better utilized.
As tempted as I am to go on talking about each song, the endless diversity of Phil Elverum and how these recordings are so uniquely handled, I feel the need to stop myself. I could write a book, easily, about how I think Phil Elverum has become the most overlooked musician of his time since choosing to self release all his work (and thus fading into obscurity). But why write that book? Any indie fan who hears this - maybe the best (and most cohesive and complete) leftovers record around - shouldn't need to hear my fanboy rants. It's all there, lost in the 31-track playlist: proof of a living master of style.
Before sitting down to write this review I attempted to - drawing from the complete tracklist of this very long collection - make a friend a more concise "best of" collection from the record. I ended up with a 22-track mix (still probably a double album by popular standards, even if many of the songs are very short). As I listen now, for what must be the 100th time, I feel comfortable calling Song Islands, Vol. 2 one of the artistic accomplishments of 2010. One of the best music releases despite its leftovers format? Easily. One of Elverum's best releases yet? Absolutely. If nothing else, be sure to listen to standout "Mystery Language," ASAP, as well as "Calf In Pasture," "Thanksgiving" and the epic "In Moonlight." Â 8.75/10
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