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Phil Elverum, based in Washington state and best known for his musical projects The Microphones and Mount Eerie, has trafficked and produced prolifically in all manner of medium: song composition and production, letterpress printing, photography, filmmaking, and last but not least endearing, a 365-day comic calendar called Fancy People Adventures.
The effectiveness of Elverum’s style reminds us about the injury, and profound misunderstanding, incurred when we put the form of expression called singing in a box. The take-away: The integrity of a vocalist has as much to do with being earnest and vulnerable as it does with technical ability.
Off of his album It Was Hot, We Stayed in the Water, his track “The Glow” has a sonic build so bizarre and staggered that from its slumber-y wakening of an introduction, the appearance of what sounds like a cold wind blowing and a subterranean, sonic soup beneath it suddenly breaking through the static, clinging to the bright thread of a woman’s voice to plug itself, electrically, into the dance-y, industrial midsection of the song is somehow — frenetically, spontaneously — intuitive. There is a fractal quality to most of Elverum’s instrumentation that is the opposite of rote, of straight geometry.
The take away: It can work to the advantage of a song to, instead of committing to a structure, let it feel its own way to full expression, even if it asks for a crazy bouquet of things.
Carl Jung and Matsuo Basho alike would be proud of our Phil Elverum, and the way he speaks to the shadowy porousness of the human endeavor. Without citing a specific instance — but I promise the evidence is out there — Elverum also does an incredible job of articulating the animal, Id, chaotic experience in ways that feel percussive to read, even apart from their instrumentation.
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Fra Molde til Elverum Ulvemotstander Karl HA?kon Gulbrandsen var pA? plass utenfor SA?r-A?sterdal tingrett i Elverum mandag i forbindelse med rettssaken der seks menn er tiltalt for ulovlig ulvejakt.
Med bilen prydet av klistremerker der budskapet var A«Ekte mannfolk skyter ulvA», svingte ulvemotstander Karl HA?kon Gulbrandsen mandag inn foran SA?r-A?sterdal tingrett for A? stA?tte de seks som er tiltalt for ulvejakt.


Gulbrandsen har reist fra Molde til Elverum for selv A? vise sin sympati med de seks tiltalte i SA?r-A?sterdal tingrett.
Ole Gunnar SolskjA¦r, Vegard Forren og flere stiller opp for A? hjelpe "Tante" med innsamlingsaksjon. He has also effectively retained the rights to all of his music so that he’s been able to republish his entire catalogue under the label guise PW Elverum & Sun. Consistent throughout his tome of a discography is Elverum’s role as the still, small voice in the midst of any instrumental and often stormy weather system. An almost whispered, tonally imperfect delivery offers the raw quality of intimate revelation, or the boldness of saying something difficult but true to an empty room. He seems to care more about touching into the depth of feeling, the center of gravity of any given song — and trusting his voice, sometimes only hinting at melody, to offer us a good-enough window into what he clearly feels is ultimately inexpressible. The slow tension at the beginning of “The Glow” is so timid and leashed that we feel a joy and a freedom when the lively drums come on the scene. His use of sampling and layering is sometimes gossamery and gaunt, sometimes chaotic and robust, and often both.
It is a seriously fun advantage when experimenting in evocative soundscape making and dream translation to have an arsenal of tools (instruments, samples) at your creative disposal.
Hearing Elverum’s poetry puts me into a contemplative space that is far from cerebral. Elverum travels to the end of himself and back, again and again, retracing his steps over ground that shifts with the everyday, trying to document the amorphous, baffling reality of it all.


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Even when everything else is cranking on 1,000 cylinders, the singer stays his restrained, measured, aching course.
With the diversity of his sonic palette, he grows soundscapes — dreamscapes, soulscapes — that are fathomless: they contain multitudes.
Like everything else about his music, his words strive for specificity without employing cliche, and they are always more felt than thought.
A thread is emerging here in the course of this examination: the body of all our own experiences is immense, wild, and manifold. The 11-and-a-half minute song feels like a trip through an eerily familiar, otherworldy landscape… a dreamscape. The more spices, and flavors, and general edible stuff you use, the more rich and nuanced the final product. As much as he writes in images and striking anvil sparks about felt inner realities, in the same breath he grounds the potentially airy philosophizing with the mundane.



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