October 21, 2008
You’ve just left a book store that was stacked ceiling high with books. It smelled of rotting paper, wood, and a slight bit like a wet dog. The book that you hold in your hand is missing the first couple pages. Yet you are able to look at the book with admiration, you can’t wait to get into the story that it holds, and you are even more excited by the way it looks. Why is this? Why is this half-ruined book worthy of your time? Here are my three best reasons:
- The book has a personality. When you open the cover of the book the previous owner’s person escapes. The book that you are about to read has been through some of the most intimate times of another’s life. It’s been in the subway on the way to work, it’s been in the park on an autumn day, it’s been in the bathroom; the book essentially holds two stories, one that comes from the text, and one from the original reader’s life.
- Books are meant to look yellow and tattered. Stiff, white books are so dead feeling. I’d much rather hold a book that smells of an old library and that has its price lightly penciled onto the inside cover. Why pry open a brand new novel from Barnes and Noble when one can experience a REAL book.
- They are more fun to find. Used book stores are a world of their own, the tall towers of books would make the average reader run in fear and the categorization would most likely make a librarian weep, but every good book found is a victory. There is nothing more satisfying than finding that one special book sitting in the dusty corner of the store, you know, that one that hasn’t been reprinted since the 1960’s.
October 13, 2008
Music has a special ability to bring back old memories. Sometimes songs get tied like a knot to parts of our minds, and when they are played again they release the sights, smells, and most importantly, feelings of a certain place in time. This is what I assume to be a perfectly natural occurrence as music seems to have a special ability to connect to us. The alignment of rhythms and sounds are able to evoke some sort of sensible feelings out of us.
Then there is the music of Mount Eerie, a project of Phil Elverum (formally of The Microphones). Mount Eerie takes the listener away to a place where he or she has never been. Instead of evoking memories, it creates ones that have never even existed. While listening to Mount Eerie I can often feel fog surround me, and I can see forests of ancient trees covered in moss. Mount Eerie’s music is not just music, it’s an entire experience. Instead of defining a story, it defines a setting, and allows the listener to explore.
This setting usually is characterized by the Pacific Northwest, the place where Phil Elverum lives and where Mount Eerie thrives. Like a sponge, Phil Elverum sucks in the environment that he lives in, the wet moss, the foggy morning, and spits it out in sonic form. I can’t help but think back to a time when I was on the beach on a cold night. I dipped my feet in the water and felt it rush up my legs and I was immediately struck by fond memory, but it was a memory that never happened. I instantly felt the emotions, images, and sounds that emanate from Mount Eerie’s music; I was transported to the Pacific Northwest as seen through Phil Elverum’s eyes. This was an incredibly powerful experience that I’ve never felt from any other music; it was an extremely beautiful moment.
Recently, Mount Eerie has expanded into other media forms. So far, a photo book and a movie (see: “Fog Movies Live”) have been released, and a journal (see: “Dawn”) of drawings and notes is set to arrive in November. These things serve as a perfect complement to Mount Eerie’s music, another indication that Phil Elverum really knows how to relate music to his environment. His photo book, which contains a record featuring “Mount Eerie Pts. 6 & 7” (a continuation of The Microphones’ final album “Mount Eerie”), matches the music perfectly with its blurred pictures of foggy landscapes, dimly lit homes, and ghost like double exposures. These things add to the aura of Mount Eerie, they create a definite idea of what is seen, felt, and heard.
On the album “No Flashlight” Phil Elverum mumbles, “What does Mount Eerie mean?” This seems to be a question that is best answered by the entire catalog of Mount Eerie / The Microphones material. This is because the answer to that question can only be expressed by feelings which words are not powerful enough to describe.
September 8, 2008
Over the summer I watched a countless number of films, most of them were tragic, all of them were entertaining. One film, Electroma, struck me as particularly interesting. Written and directed by the masterminds of one of the most popular electronic music acts to date, Daft Punk, Electroma is an experimental, and completely dialogue free, film about robots trying to become human. Throughout the movie I was captivated by the eerie sense of humanity that these robot beings emanated. As the two robot main characters walked through town other robots were seen living seemingly human lives in the surrounding environment. At the end of the movie, after a failed attempt at applying wax replica faces to their robot heads, one of the main characters commits the purely human act of suicide, completing this eerie feeling with a heavy dose of sadness.
After watching Electroma I realized that it had an even more important role in the contemporary arts than that of just another creative movie. The way it depicts robots as humans it allows us to delve deep into the question; why do we enjoy tragedy? When we see a tragic film we view the actors as fake characters, or robots if you will. The reason we don’t fall into a deep depression when we see a sad film is that there is a disconnect between the characters and the moviegoers, they are not real to us. With this knowledge we are able to feel their real life emotions without fully feeling their pain, and this is why we are entertained. It is like the thrill of experiencing life without the agony of tragedy. When the film reel shuts off and we make our first steps toward the door we are able to breathe deeply and allow the real world rush over our bodies again. We have experienced sorrow without the sorrow.
August 22, 2008
Gang Gang Dance— the psychedelic Egypt-influenced drum boomers from Brooklyn– have finally allowed the new single from their upcoming LP, Saint Dymphna, to slip from their fingers. The single, entitled “House Jam”, was first revealed as a remix by xxxchange of Spank Rock; but now, anxious Gang Gang Dance fans (like me) can finally catch a listen of the real thing at fluxblog.
August 18, 2008
Good ‘ol Phil Elverum has come again bearing (more) gifts, when does he stop! On his online shop he’s put up a brand new Mount Eerie / Julie Doiron & Fred Squire collaboration, Lost Wisdom, a Mount Eerie movie, Fog Movies Live, a Mount Eerie book (with 19 songs), Dawn, and a D+ album, What is Doubt For?. Unfortunately, the fifth addition to the store, a re-issue of No Flashlight, has already sold out.
Mount Eerie is also touring so much that I’m not even going to attempt posting it here. Go here instead and scroll down.
August 14, 2008
August 7, 2008
Beach House will be releasing a 7″ single on October 21 via Carpark. The A-side is a new song entitled “Used to Be” and the B-side will contain a demo of “Apple Orchard”, a song released on their self-titled album. I love the album artwork, it suits their style so well.
They’re also touring at the moment. After a few more gigs in the US they’re vacationing around the world to Australia and New Zealand (and also performing there too). I bet they’ll be staying in a beach house (hah… hah… uhh).
08-09 Philadelphia, PA – Johnny Brenda’s w/ Cass McCombs, Tickley Feather
08-10 Baltimore, MD – Creative Alliance w/ Cass Mccombs, Viking Moses
08-12 Greensboro, NC – Square One
08-13 Asheville, NC – Grey Eagle w/ Cass McCombs, Great Lakes
08-20 Sydney, Australia – The Hopetoun
08-21 Sydney, Australia – The Hopetoun
08-22 Melbourne, Australia – Roxanne Parlour
08-23 Brisbane, Australia – The Troubadour
08-24 Perth, Australia – Mojo’s
08-27 Melbourne, Australia – The Toff
08-29 Wellington, New Zealand – Bodega Bar
08-30 Auckland, New Zealand – Kings Arms
09-27 Big Sur, CA – Fernwood Resort
“Used to Be”:
01 Used to Be
02 Apple Orchard
August 6, 2008
August 5, 2008
Remember, lens flares make every music video more classy:
August 5, 2008
Ring tones seemed forever doomed to be that annoying cheesy tune coming from that guy’s phone in the subway; until now. Luckily, Max Richter, a composer currently on the Fat Cat label, has come to the rescue.
In a news release by Fat Cat Richter shares his opinions on ring tones stating that they are, “very immediate, personal and democratic” that they have a special ability to “express our thoughts and feelings, tell stories, and connect people”. With this he has created 24 Postcards in Full Color, a collection of ring tones composed on piano, strings, and electronics that will, he hopes, be able to connect to people in a unique way.
He stresses that these “songs” are not to be listened to as an album (even though they will be released as one), but as series of interconnected pieces that will connect no matter how they are played.
Richter’s live performance of 24 Postcards will require select audience members to download certain pieces to their phones that will be triggered by text message by Richter himself. When these ring tones are triggered he hopes to create a sense of anticipation of news from another place, the idea behind the title 24 Postcards.
The album will be released 8/25/08 in the UK and 9/23 in the US and Canada.