New Mount Eerie Live Album After

[seamount]

From Consequence of Sound:

Mount Eerie’s Phil Elverum will release a double-vinyl live album this fall titled, After. In the latest episode of This Must Be the Gig, the Pacific Northwest singer-songwriter details the forthcoming collection to host Lior Phillips, namely how it was surreptitiously recorded during his critically acclaimed performance at last year’s Le Guess Who? Festival in Utrecht, Netherlands.

Here’s how it all happened:

“A recording emerged from that show, and I remember it being particularly good and huge. It was kind of the best show of that tour. I’m putting a live album of that. So, the recording turned out really good, which was strange because I don’t really like live albums and I don’t really want people to record my shows really.

I’m not uptight about it, but I really believe it should be a thing that happens and then it’s forgotten. Like it’s a thing that we’re all in the room together for, and so I did say, ‘No recording,’ but then somebody in the crew recorded it, either without them not knowing I didn’t want them to or just because, and I’m so glad they did because the show was so special and the sound was so good.

It was this huge cathedral, so it was epic sounding, but not too epic. It’s called After. That was one of the possible titles for A Crow Looked at Me. It seemed appropriate for this live album because it truly is a document of that strange in between space after the cataclysm, before things have settled … after a death or after an album. The live show.”

Phillips actually reviewed the performance for Consequence of Sound, writing, “From the first lines, tears permeated the pews, sniffling and strained breathing the norm throughout the remainder of the performance. Elverum, meanwhile, hung lightly on his toes, rarely wavering in his vocal tone and never missing a guitar strum, yet more fragile and considered than bold.”

[woolymammoth]

YESSSS

Thank you for sharing!

Also, I just noticed in the "Upcoming" section on the PW site, he has a new 7" coming out as well

"Upcoming:
repressing so much stuff
ELV042 – a strange 7”
ELV043 – “Clear Moon/Ocean Roar” double LP"

[pantingfish]

This is great thank you! And there was a video on youtube for a while from that show that has now been deleted, and I remember it being fantastic!

[woolymammoth]

Looks like we have a release date of Sep 21st:

pwelverumandsun.bandcamp.com/album/after-singing-and-guitar-at-jacobikerk-utrecht-netherlands-nov-10th-2017-at-le-guess-who-festival

Phil's comments on the album:

While making the songs that would be released as "A Crow Looked At Me", I wasn't thinking at all about sharing them with other people, family or strangers. Nobody. I was only thinking of squeezing the constant flow of words that was crashing around in my head into a familiar form, a song, since that was my habitual method of processing that had accidentally developed since adolescence. I made my inner monologue into songs for no other reason than to release it from my skull. At some point during the writing I recognized a feeling in the vicinity of "pride" about the work. It was a strange realization. These songs, and my the facts of my life that the songs were made from, seemed like nothing to be proud of. They seemed like something purely brutal and new and apart from my usual conception of creative work, and the notion of having excitement stemming from these new songs was accompanied by so many apprehensions and uncertainties. What does it mean to write things like this down? What would it mean to record it? What would it mean to share it with strangers? Where is the line of propriety? What is anyone supposed to do?

At every step I was uncertain if it was OK to be doing what I was doing. My hunch was almost always that it was wrong. Don't write it, don't record it, don't sing it in front of people, don't repeat it. But also I was surprised to discover that my internal response to this hesitation was almost always to double down and go deeper in; to write more nakedly, to go on another tour, etc. In the year that came after releasing "A Crow Looked At Me" I toured a lot. The United States, Canada, Europe, Australia, New Zealand, Japan. It wasn't easy. The shows were emotionally difficult and the atmosphere was so delicate and strange, like reenacting a violent act on stage in front of a paying audience every night. On top of that, I had to tour with my daughter (and a nanny) so my mind was stretched between 2 big difficulties. But fortunately, with the help of so many understanding and helpful agents, bookers, organizers, I was lucky to get to perform these songs in very well suited and beautiful rooms, nice theaters and churches, to kind and supportive listeners. The concerts ended up being something beyond strange, macabre, gawk-shows. I don't know what they were exactly. Just strangers gathered in beautiful rooms to pay close attention to one person's difficult details, and to open up together, quietly. They have been the most powerful shows of my life, no question.

Even so, every time it was clear that the audiences shared the same apprehensions that I had. After the first song, every time, there was a palpable hanging question in the air: "should we clap?". It's a good question. What is this? Is it entertainment? What is applause for? What kind of ritual is this? Many close friends have still not listened to the records or come to a concert. What, beyond pain, is embodied here? I don't know exactly what my job is, traveling around and delivering these feelings. The concerts in 2017 and 2018 have been unusual, unexplainable, and great.

The best one was at Le Guess Who? festival in Utrecht, Netherlands on November 10th, 2017. Nobody was supposed to be recording these shows but fortunately someone didn't get that message and this beautiful recording of that show has surfaced.

So now I'm plunged back into the apprehensions, now pushed into new territory. What would it mean to release a live album of these songs that maybe shouldn't have been written in the first place, let alone recorded or performed? Is it OK? Does it bring anything new to the songs to hear them in this way? My hope is: yes. You can hear the breath in the room. You can feel the simultaneous intimacy and immensity. Foregrounded by the hyper-bare instrumentation (minimal acoustic guitar), the words burn brighter even than on the albums, more legible. This is a recording of these ultra-intimate songs living in the real world among people, and of peoples' wide eyed accepting silence, and clapping.

[tchock1]

Wonderful news. All of Phil's live albums have been beautiful, this one looks/sounds no different.