Phil Elverum Quotes

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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.

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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...

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,...

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...

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.

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