The Microphones is Phil Elvrum.
Elvrum writes and produces all the songs—with the help of numerous chameleon-like, soft voiced collaborators who fade in and out like wind-up organs and spinning tops. The result is a collection of beautifully sweet, simply poetic ditties in various albums and incarnations.
On the latest record, It Was Hot, We Stayed in the Water, The Microphones’ songs are fragmented, at times whispering, at times abrasive, but always sincere.
Each new melody or lack thereof describes perfectly Elvrum’s capacity to play every musical instrument ever invented, and some that never were invented.
Some songs, like opener “The Pull,” start with pleasant, lightly strummed, nylon acoustic guitar strings. Elvrum plays the same chord for measure after measure without any attempt to change to another chord or begin to sing, as though he’s listening to the beauty of those few notes and not wanting to push them into the past by continuing.
Of course, he eventually moves on with the song, which explodes into unexpected drums about half way through.
“Karl Blau” has minimal drums, surfer-music-like piano, hand claps and choral harmonies sung by friends, but changes to just drums, then just piano, then ends with a wild, banging, screaming romp through the drum set into song six, entitled simply “Drums”—a perfect description.
My favorite section of the album, though, is the simple “The Breeze” followed by the quiet “(something)” and the loudly mellow “Between Your Ear & the Other Ear.”
Although it is instrumental and consists of many unidentifiably altered musical instruments—possibly a back tracked guitar, and what sounds like a mix between an organ and a harmonica—it is soft and honest, and very moving.
“(something)” begins with a short melody, and the guitar acts as a countermelody to the physical, kiss-like words—sometimes the guitar cracks and is unalterably imperfect, only adding to the charm.
Then, in what seems like an entirely separate song, it spurts distorted guitars and drums, so muffled that different chords are hardly recognizable, yet foils the instruments with a beautifully soft melody. At the center of the song is one note of harmony, held for a few seconds, then withdrawn—perfect.
Finally, “Between Your Ear & the Other Ear” starts with a happy, care-free, two-chord ditty with a great, cheerful melody sung by one of Elvrum’s many friends.
The shows are very different from the album, but not in theme so much as instrumentation. For instance, last time in Salt Lake City, Elvrum declined to drag his drums set across the nation, opting rather for a simple guitar and the voice of Mirah, a fellow wonderful indie songster and touring mate (along with band Wolf Colonel).
In fact, the last show felt somewhat like story hour, with the crowd sitting on the ground in front of the two incredibly intimate singers/musicians. Elvrum will likely continue this intimacy on the present tour. His performing is so honest, he can’t help it.
It’s hard to believe this near Nick Drake songwriter is also the drummer for loud indie bands Old Time Relijun and D+. In fact, if you regularly listen to those bands, you will hate The Microphones.
But if you like the Elephant 6 Recording Co., particularly Neutral Milk Hotel, The Microphones will be right up your alley.
The Microphones will play at Kilby Court tonight, March 8.
