Phil Elverum Quotes

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I never want to keep doing the same thing more than once, honestly.

I'm open to making any kind of music, or maybe making no music ever again. That's also an option, always. Who knows what'll happen.

In 2002 I did a big tour of Europe, by train, by myself, on foot, all the time walking from train station to the venue, in a weird town, in a weird country. I'd brought an acoustic guitar with me but it got broken somehow in transit.

My shows have never been related to my albums at all because my albums have all kinds of crazy instruments and stuff that could never be performed live. I'm used to people expecting this 12-piece band to show up with three drum sets and an accordion.

It feels weird to play songs that I don't really... feel any more.

Even when I was calling myself the Microphones I only really ever played new songs... because I feel, like, a pretty strong connection to the song when I'm performing it.

I was really into Michelangelo in seventh and eighth grade.

There are some people that are trying to cure death, this tech immortality... That seems mentally ill.

I'm singing these songs about death and stuff. I see somebody who's, like, in their sixties or seventies at the show, and I'm like, 'Yeah, sure. Fair enough.'

Somebody from Pitchfork Festival wanted me to have a Microphones reunion. It's a joke. It's just me.

Clear Moon' is more... clear I guess! It's more round-sounding and it's slightly gentler. 'Ocean Roar' is more challenging and weird and darker and heavier - the idea was for it to feel like a thick fog laying on your head, versus a clear sky with the moon in it.

It's nice to have a band that can adapt to whatever show we're in, so we can play on a big stage or a house show.

Twitter is so stupid. I mean, it sucks!

It's interesting to think about the different forms one place can take.

It would be amazing to write a song that could be sung 100 years from now by a teenage girl and still be relevant to her - that's a dream of songwriting, maybe.

I feel like I spend most of my time in a state of writer's block! When things do come out, they come out quickly.

I do spend time trying to find good melodies, and I try to remember them when I do discover them. But also it's mostly intuitive; I noodle around with the line until it sounds and feels right.

I wanted to make a record that would transcend the bad, hard feelings of a love relationship not working out, to make something that metabolized it into something useful and good.

My daughter is like a tether back to the functional world, and I'm aware of how helpful that is.

I sometimes think about the life that my daughter will have with no mom. What does it mean to have a ghost mom? Not that I can do anything differently about it. But it's an inferior version of what we had planned, you know? This was not our top choice.

In the early '50s, my great-grandmother and grandfather raised a baby gorilla named Bobo who wore clothes and played with the neighborhood kids.

I love things like the Criterion Collection DVDs. I think those are really well done. I like how far you can push the deluxe-ness of things like that.

There are a lot of names on the credits of 'The Glow Pt. 2,' but most of those people are just on one half of one song or something.

When I first started recording music, I was actually singing about microphones, equipment, recording.

I'm not a perfectionist. I don't have enough patience to go over the same details over and over trying to get it perfect.

On CBC Radio, the Canadian national radio, there's a show called 'WireTap.' The host is Jonathan Goldstein. It's amazing.

I always like to play in beautiful cathedrals, when I can somehow get access to do a punk show there.

I like Copenhagen, just because my shows there have been really good for some reason. Not that I love the city itself, but every time I play there it feels amazing. Pretty nice people there.

I like a bass drum. A big one.

One thing I've heard that makes sense to me about grief is that there's this conception that it's a thing that you process, and then you're done processing it. But really it's not a thing that has an end, it's just what life is like now. You are living with this now, probably forever.

All the books on my shelves, when I would go to them to look for help with my anguish, they all just seemed so crass. They didn't get it. Those books don't understand. Nobody understands.

Profound thoughts and profound experiences get revealed to be tricks that we play on ourselves, and poetry gets revealed to be just, like, some dumb words that somebody put in an interesting order.

I'm pretty open.

Life here (in the Pacific Northwest, not in Vancouver, Seattle, Portland or the chain of buildings connecting them but in the rest of the place, out west and east from the north-south I-5 river) can sometimes feel like a half-dream, half-myth.

After I made 'A Crow Looked at Me,' I remember people saying things to me like, 'You've made a beautiful tribute to Genevieve.' And I felt like, no! No no no, I haven't. I made a tribute to my own destruction and desolation. This is not a portrait of her. That's not who she was. She wasn't just a person who died.

I can't bring myself to release an instrumental album because I feel like I want some meat on the bone. Something to chew on, lyrically and content-wise.

I start with the aim of making something instrumental, and then I'm just like, 'Agh, no, it's not interesting enough. I've got to say something here.'

I think that as a kid I was pretty drawn to melodrama.

I like the experience being in the audience and being overwhelmed by sound, like thick, oppressive loud sound and distortion.

Eric's Trip is still a huge influence on me. The style of those recordings and the rawness of them is very inspiring. And the density of the distorted parts, amazing.

I am not satisfied with the ending of 'Mount Eerie' the album, so maybe by calling myself that, I am attempting to elaborate on the ending.

I need some time to write songs and work on my thing, but I'm just living my life and doing family stuff and letting inspiration come when it comes. But I also don't feel a desperate need to keep pushing myself into people's faces to stay cool and relevant.

I'm artistically satisfied and happy.

I want to create a life that is just healthy and peaceful - an enclave, really, of retreat. It's not helpful for the big picture. It's totally selfish to run away like that.

I'm actually not fussy. I enjoy getting into it and talking about anything, really. It feels good.

If I wanted to make big, bombastic, distorted, echo-y, trippy music, the atmospheric stuff, a studio is nice. But it's nice to know that it's not necessary.

Music is only good sometimes.

After many days of grocery store food, sitting down for a deliberate, slow, expensive eating time can be the best.

It has happened a few times that I've found myself in a surprise mid-tour recording session.

Recording and touring are totally separate universes for me and it's strange and refreshing when they invade each other momentarily.

My first band was called Nubert Circus, a very embarrassing, dumb name. It means nothing. We were kind of grunge. I would say we were more funny punk, a lot of songs about food and stuff like that.

The Beach Boys were my favorite. I use to listen to their hits over and over, especially 'In My Room' and 'Don't Worry Baby.' There's something really sad about 'Don't Worry Baby.' Even though it's just a California song about racing cars, the melody is really sad. There's melancholy in it.

I buy some black metal records kind of blindly, and I end up really liking maybe 30% of them. There's a lot of duds, for me at least, in black metal. I have kind of picky tastes about it.

I got into Nirvana, and it was my sort of awakening into the idea that music could be like rough and crazy and local. And so I started to realize that there were bands playing in my town, Anacortes.

I'm mostly fine with anyone using my music for whatever. Everything's just compost that gets reused.

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