Live In Japan...

 

 

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After isolating himself for five months in Norway, Phil Elvrum reemerged in 2003 with a batch of new songs that he would later perform acoustically (mainly) throughout the rest of the year. The new songs, generally speaking, were more introspective and somber, but were still trademarked with Phil's unnerving execution, clever narratives, and reluctance to conform to the verse-chorus-verse paradigm. Although the new songs were closer to the simplistic style of 2001's The Glow Pt. II rather than the epic grandeur of 2003's Mount Eerie, they were obviously from the mindset of a different Phil. I was lucky enough to catch these new songs at the Babylon in Minneapolis, MN, a performance that has since proven to be one of the most moving and rewarding experiences of my life.

Unfortunately, Live in Japan, the last album to be filed under "The Microphones" moniker, doesn't come close to reflecting the experience I had in Minneapolis. While some songs do a descent job at conveying the indescribable intimacy of a Microphones show ("Great Ghosts"), Phil's playful stage presence ("My Favorite Things" and "Silent Night"), and his interest in creating infinite versions of songs ("The Blow, Pt. 2"), others come off as mediocre recordings that would've fit on any old bootleg. And though the tracks that feature Phil's friends helping out (Calvin Johnson, Kyle Field, The Mools) are certainly interesting, they seem to underscore the fact that songs intended for a live setting do not always translate well on record.

As you can see, the problem I have with Live in Japan has to do more so with the live album format rather than the songs themselves. (In fact, Phil's newest material, which includes many more in addition to the ones on this album, are by far my favorite he has ever penned.) I certainly do not expect or wish that live recordings will someday supplant the live performance, since that is neither logical nor even possible, but it's a bit disappointing when this officially-released album doesn't even surpass my Department of Safety bootleg. It just seems that live albums are only successful at taking songs out of their original context and creating a pseudo notion of "being there" while we celebrate in its nostalgic illusion. Although there are certainly positive outcomes to recording live performances, they too often give the wrong impression to those who haven't experienced the artist or artists live. In the end, this album is mainly for collectors.

i wanted a cd that had steel drums on it like when i saw phil perform in the bay area. sadly i got a bunch of songs that aren't that great at all. The guy sings off key in many instances and also has a tendancy to have songs with horrible endings (songs feel incomplete). I appreciate lo-fi, off key, but not when its so overwhelmingly bad and purposeless. Don't buy this, buy the glow pt 2. at least half the songs don't suck.

So this is the last title we'll ever get under the name The Microphones (or rather, the only title we'll ever have under the name, "The Microphones"), and it's a great one. Phil Elverum plans on changing the name to Mt. Eerie from this point on, which is unfortunate really. No, Mt. Eerie wasn't a bad album (it was damn good!), but in listening to it we heard Phil Elverum explore concepts far beyond any scope he has ever attempted ("Universe / I see your face / looks just like mine"). It's unfortunate. Of course the voice was as heartfelt and captivating as ever, but the appeal of Phil Elverum the lyricist is that he can present the simplest images that drip with raw human emotion - he can display a character, an action, or a dialogue in such a way that we, the listeners, can assume the back story and can feel all of the emotions used in constructing the song ("The Moon" for example). With Mt. Eerie, he strayed from humanity, producing a great album nonetheless.

However, with this live album, the fans are in for a treat. Here, Elverum has actually achieved new heights in displaying his personal emotions. He voice searches for the pitches, fails, cries, and even screams at itself ("Thanksgiving"). We have here utterly beautiful songs of self-doubt sung with as much conviction as I've ever heard from Phil. Additionally, the few flaws from Mt. Eerie are not at all present here; there are few moments of certainty, which is by no means a bad thing. In moments in "Universe Conclusion" Phil and company wail, "We know there are/ there are hearts beneath those skins." We take take a thing for granted, and that's what Phil is good at - showing us what we should have been seeing all along. Musically, the CD is very good. We have here some of the great musical elements from The Microphones' past: The clean-tone electric guitar that worked so well in "Solar System" is here in "Climb Over" and "I Love You So Much!," the blending of the Calvin Johnson and Kyle Field on reminds us of Mt. Eerie's finer moments, "The Blow Pt. 2," is taken directly from "It Was Hot, We Stayed In The Water," and exploding bit of distortion in "Universe Conclusion" reminiscent of "Don't Wake Me Up" and of course, the fantastic "Great Ghosts" is an acoustic piece as poignant as any we've ever heard. We also have new musical sounds: improvised sections that prove the group's musicianship despite its charming sloppiness. I wish "After N. Young" was a bit longer, and a few other minor things, but overall, a fantastic album. And one more side note - no, this is not "The Glow Pt. 2," and nothing much can touch it (Neutral Milk Hotel's "In the Aeroplane Over The Sea" being the one album I am currently putting ahead of it), but let's be glad that Phil Elverum is exploring new musical ideas rather than trying to recreate the same album over and over again

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5.0 out of 5 stars A Marvelous Experience
I can hear the questions now coming from Microphones fans all over the world: "Didn't Phil change the name of the band to Mt. Eerie?" Technically, yes. Read more

Published on Feb 3 2004 by Craig Clarke

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