Microphones

Why Mt Eerie is still the bomb after 45 years at the top

With a somber, lethargic drone the Microphones begin Mt. Eerie. A collection of memories rolling along in a cold daydream. Phil Elvrum demonstrates how silence doesn't need to be boring. While beginning an album isn't the best way necessarily to start an album, the Microphones use the opening tracks first 10 minutes to hypnotize you into writing praise to your friends. Sparse drum beats begin to grow and some brilliant production skills are demonstrated. Especially, as far as I know the album was made entirely made with only analog components. This gives Mt. Eerie's subtleness depth and individuality. The listener is whisked away through what seems like a montage of aural memories. You imagine yourself on the silent shores of a small town nestled under Mt. Eerie. Then, without notice, the skies open up above you and you're sent spiraling into the unknown fueled by drum beats. You slowly drift back to the small town. You hear the horns of ships as you walk down the busy portside.

It's surprising how deep a simple drum loop and a devoted listen can take you. As the introduction wears on, it does seem a little "much and excessive" you get bored, but just as you're about to complain, the lyrics begin. You finally feel the darkness of loneliness wrap around you. The sky is dark, and you're standing on the boardwalk, and you're constantly saying "goodbye" to everything emotionally. The female vocals illustrate the softness of the air and you can feel the subtle touch. Great lyrics, especially while sung at a convenient pace by Elvrum. The guitar behind it is very original.

Elvrum's fickle melodies are spiraling out of place, constantly switching place. The rhythm changes pace and finally come back home. The ability to keep a song fragmented, but somewhat constructed is well held by Phil. And yes, we're still on the same song. Everything on this album is very dense, and there's always a noise that can carry onto into a tune. The melodies seem personified and individualistic.

Then in a wave of static a new song begins. The second song, "Solar System," offers a more traditional song. It's a great song to listen to, but aside from somewhat worn out tricks, offers nothing that different or new, from what we've heard of other Microphones releases. It's a very sing-songy tune, and it's got some good lyrics. You can finally see that, after years and years of trying, humanity has finally made a connection between astronomy and the awkwardness of a new love.

"Universe" begins after a brief pause, with the same guitar riff but with large drums introducing the next movement. It's easy to get lost in a Microphones song, there's always a lot going on, sometimes it's a little too crowded, but usually it doesn't persist for long. Mt. Eerie is very mythical lyrically, and musically, also. Phil uses vague and symbolic words, it may not be real original, but he's made it something original by somehow tying a personal journey to it. Any time you want to use a "godlike voice" in a song, you know that song is good. Near the song, it gets really rich sounding, almost to the extent it sounds like it was played by an orchestra. You can really see the thematic-ness of the album taking place. While it's not perfectly pulled off, it's still a step in the right direction.

While Elvrums lyrics are a little too vague to follow the story, it invites the listener to imagine themselves as the focal point of the story. And that's how the emotions connect.

Track four, the title track, begins very well. The thematic-ness is a little less rich sounding, but is very warm. And then it kind of loses it's footing. A chorus about a big dark cloud is born, while it's not all that bad, the continuity and mood of the album is destroyed. And what's left is obliterated by a "rap" which kind of meanders aimlessly, and doesn't seem to have any place on the album. While it meant well, the whole section just has a style to it that isn't pulled off professionally. Then, you hear some sunlight breaking in. And if Phil meant this section to kind of scare us into loving the next movement, he accomplished his goal.

The next section is a bunch of low, windblown vocals conversing on different levels. The narration after this bit seems kind of silly and the lyrics aren't really great. The section continues with the same voice singing, accompanied by low-frequency noise and some impromptu instruments. And that ends out the title track. The thematic element is pretty much gone at this point, but there's still hope.

The segue between the tracks doesn't really accomplish much, you'd have to be hard pressed to listen to a noise rainstorm. Since the thematic element of the song isn't that strong at this point, it seemed needlessly boring.

Track 5, also titled "The Universe," begins strong and distinct. Phils voice is enveloped by loneliness, and you can feel the narrative return. The epic quality of the album is best shown at the beginning and at the end. But you can survey the vastness of Elvrum's lyrics, you can feel the immenseness of discovering your face on the universe.

This section is very alive and vivid. The words are strong and not afraid to sound a bit grandoise. The trumpets and voices paint a large picture, right where the words take off. The melody throws out her monstrous wings and flies out of the universe.

The album certainly must be listened to with headphones and a good amount of willingness. You definitely don't want to play this with your friends around because they won't understand what's going on and you'll have to explain the songs to them like your mom had to do when you got confused watching Beethoven's 2nd.

Listening to this out of order and without letting it consume your mindset leaves you out of the warmth of it's beauty. When you understand how rich and vibrant the explanation of Mt. Eerie is, and what it means to be placed at the center of the universe, this album obtains its true beauty.