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May 23, 2006
"Newsies" is my favorite musical starring Christian Bale [updated]
When Catbirdseat originally pointed it out, I really should have mentioned it here too, since I was quite impressed- it's the only place I know that endorses both George Saunders and Someone Still Loves You Boris Yeltsin in equal measure: Daytrotter. Excellent writing, nice design, essay contests, and specially recorded songs- doesn't get much better. Go check out their SSLYBY post (which has three alternate arrangements of "Broom" songs, and one brand new song, 'Modern Mystery').
I heard 'Solar System' the other day for the first time in a long time, by chance, and I'm pretty sure that this song, of all Phil Elverum's recorded output thus far, is my favorite. The blast of static in the beginning, the slow, dry way the guitar is strummed, the subdued back-up vocals, the panting noises, the washes of wind/water sounds that Phil ushers in when he sings 'let the flash flood begin'- all of it's amazing, but what really makes this song for me are these lines: "I know you're out there/your vultures in trees/I know you're out there/you're lanterns on lakes/I know you're out there/your soccer balls on knees/through your skirt I see/your legs gracefully", that's the kernel of the song to me, the whole story. Anyway, every time I talk about Microphones/Mt. Eerie, I feel compelled to post an excerpt from Matt's wonderful essay on the subject (which you can read in its entirety right here):
"...it's almost like Elv(e)rum has uncovered some kind of phenomenological lingua franca with which to express each and every experiential nuance.
What makes The Microphones records so extraordinary is the unity of purpose towards which each and every aspect of their construction seems directed. Not only does Elv(e)rum write lyrics that get to the core of what it's like to be an experiencing thing, every nuance of his production begs to be listened to on headphones. In so doing, the listener becomes the medium. This gives the sounds an immediacy that reinforces and is reinforced by the lyrical content.
Further, Elv(e)rum's insistence on using acoustic methods to get certain sounds (e.g. putting microphones in boxes to get the right kind of muffle) gives every note, thud, or drone the essence of having been made by a body. This creates a seamless continuum between the intent of the musician, the acoustics of production, the psychoacoustics of listener perception, and finally the listener's emotional/visceral response."
--Check out this amazing little tidbit brought up in the comments by dekadetia:
"A fantastic song I haven't heard in a few years, thanks for reminding me of it. Did you know it's based on the Little Wings song "Fall Flood"? Kyle Field and Phil Elvrum have developed a habit of "responding to" each other's songs. Microphones' "Lanterns", for example, was a response to Little Wings' "What Wonder?", (I think that's right, anyway), and Little Wings' "Uh Oh, It's Morning Time Again" was based on a dream Elvrum had, was subsequently re-recorded by Elvrum as "Ut Oh! It's Mourningtime Again", and then recomposed again by Field as "Uh Oh, It's Uh Oh Time Again", "about how we keep re-doing the songs" (Elvrum, "Singers" liner notes).
Conveniently, there's an mp3 of "Fall Flood" at Puritan Blister right now, so you can hear it for yourselves. Link:
http://puritanb.blogspot.com/2006/05/waterslide-sobriety.html"
Thanks, Dekadetia!
Posted by Kevin at May 23, 2006 12:03 AM