#Mount eerie

[mostly-funnytwittertweets]

[ckidarchive]

old sketch of a kind of intense photo of mount eerie, i think from an article after a crow looked at me was released

btw he has a song on a charity album Merciless Accelerating Rhythms - Artists United for a Free Palestine, organised by hatetoquit, raising funds for PCRF and Palestine Legal 🕊️

[c-kiddo]

wanted to let people know about this - Merciless Accelerating Rhythms - Artists United for a Free Palestine. its an album by a whole bunch of artists, all of the proceeds going directly to Palestine Children’s Relief Fund (PCRF) and Palestine Legal.

also saying so because you all know i talk so much about mount eerie on here and he has a new song on the compilation, its rly rly nice (a recording of one of the songs from his last tour, or a version of it at least, like early version)

but also check out the whole album (its a digital download), lots of variety and cool nice tracks and money going to a good cause

[widge1312]

It took way longer than I thought it would but I'm so happy with how this turned out! I crocheted this tapestry for my partner's birthday 🥰 It's the cover of song islands by the microphones, if ya wanted to know. They loved it and it's going in the living room, if ya also wanted to know ☺️

[lamp2003]

something

[cacophonouscatharsis]

[usurp]

anyone else feeling this tonight

[yr-bed]

Phil Elverum

[balleralbumcovers]

EPIC ALBUM COVER #13

The Microphones - The Glow, Pt. 2

Released: 2001 (K)

Indie folk, psychedelic folk, slacker rock, noise rock, field recordings

[f3malehysteria]

phil posting

[bandcampsnoop]

11/8/24.

I know this is an obvious post, but Mount Eerie "Night Palace" is just so good. Phil Elverum's return to Microphones "The Glow Part 2" epicness is not only an exhilarating listen, it's pretty fun and catchy throughout.

My favorite on first listen was "Non-Metaphorical Decolonization" which starts off like a Yo La Tengo krautrock long-player. Then it transitions into class Mount Eerie/Microphones. I've always thought that Elverum's sound and voice recall Grandaddy, The Mountain Goats and C. Strøm.

Elverum (Anacortes, Washington) has had a long career - I'm happy to see he's releasing his own work (P.W. Elverum & Sun) and reaping the just rewards of a career dedicated to making music on his own terms and timetable.

[c-kiddo]

the way mount eerie/phil elverum talks about femininity and motherhood and how he feels like a mother to his kid is genuinely so 🫶🫶🫶 i could cry . this especially

[dustedmagazine]

Mount Eerie — Night Palace (P.W. Elverum & Sun)

It’s been a big year for big albums. The mother of them all has to be Cindy Lee’s 32-track, 123-minute opus, Diamond Jubilee. But there’s also been Broadcast’s 36-song, 66-minute demos collection, Spell Blanket. Now we have Mount Eerie’s 26-track, 81-minute Night Palace, which unites the many facets of Phil Elverum’s musical preoccupations into a raw, artful, sprawling double album. Unwieldy as it is, there are so many wonderful moments across the track list that it pays dividends to invest the time.

As ever, Elverum situates himself within the living, breathing natural world of his home state of Washington, in the chilly Pacific Northwest. (Indeed, five of the song titles start with the first-person: “I Walk,” “I Heard Whales (I Think),” “I Saw Another Bird,” “I Spoke With A Fish,” and “I Need New Eyes.”) Blast beats evoke thunderous storms; cacophonous cymbals evoke the crashing of waves against the shore; white noise and amp hiss evoke the wind whistling through the trees. There are countless references to animals, landscapes, and weather events, and the sounds themselves have been lovingly laid to tape in Elverum’s home studio.

Night Palace most closely resembles Clear Moon and Ocean Roar, the wonderful pair of Mount Eerie albums he released back in 2012. Here, though, the calm and the chaotic are intermingled. At one end of the scale is the 53-second screaming death-metal interlude, “Swallowed Alive,” which features a guest appearance from Elverum’s daughter. At the other end of the scale is the ponderous 12-minute spoken-word piece, “Demolition.” There are a couple of songs in the middle of the track list, “Non-Metaphorical Decolonization” and “Co-Owner of Trees,” that almost sound like Stereolab, with their motorik drums and droning organs. Most of all, though, Elverum sounds inimitably himself, even calling back to past Microphones releases (“the Gleam pt. 3”).

While recent releases A Crow Looked at Me and Now Only were painfully direct in their confrontation of grief, Night Palace feels more abstract, as if Elverum is now operating from a place beyond the immediacy of personal trauma. There’s a sense of unmoored drifting in these songs, as if the music is constantly unfolding, never quite settling into place. For this reason, it’s a challenge to apprehend, but a challenge worth accepting.  

Tim Clarke

[femmeterypolka]

[olivesjaw]

Mist kissed face Vast grass shuffling Treeless place Expanse encircling