WEBVTT 00:00:00.000 --> 00:00:02.180 Have you ever like really thought about an artist 00:00:02.180 --> 00:00:05.599 who doesn't just make songs, but actually builds 00:00:05.599 --> 00:00:09.130 an entire world? like meticulously crafts everything 00:00:09.130 --> 00:00:11.109 around their music. Yeah, I know what you mean. 00:00:11.130 --> 00:00:13.050 Not just the music itself. Exactly. We're talking 00:00:13.050 --> 00:00:15.330 about someone who, you know, composes, performs, 00:00:15.609 --> 00:00:18.070 records everything themselves, but then also 00:00:18.070 --> 00:00:20.929 designs the artwork, prints the vinyl, sometimes 00:00:20.929 --> 00:00:23.149 on their own press. And even ships it out themselves. 00:00:23.289 --> 00:00:25.309 It's a whole different level of involvement. 00:00:25.370 --> 00:00:27.050 It really is. It's not just making art. It's 00:00:27.050 --> 00:00:29.890 like embodying it, you know, from the very start 00:00:29.890 --> 00:00:32.070 right to when it gets to you. Completely. A true 00:00:32.070 --> 00:00:35.070 artisan, really. Totally. Well today on the deep 00:00:35.070 --> 00:00:37.149 dive we're doing just that taking a really deep 00:00:37.149 --> 00:00:40.509 look into the the singular universe of Philip 00:00:40.509 --> 00:00:43.729 women Elvarum Phil Elvarum, he's the musician 00:00:43.729 --> 00:00:46.770 the songwriter the multidisciplinary artist behind 00:00:46.770 --> 00:00:49.030 these really iconic projects the microphones 00:00:49.030 --> 00:00:52.490 and Mount Erie Critically acclaimed hugely influential 00:00:52.490 --> 00:00:55.549 for a lot of people for sure and for some especially 00:00:55.549 --> 00:00:57.570 like in the Pacific Northwest He's almost seen 00:00:57.570 --> 00:01:01.210 as this this folkloric deity. It sounds intense, 00:01:01.210 --> 00:01:03.520 but maybe it fits That's a description you hear, 00:01:03.560 --> 00:01:06.799 yeah. A kind of living legend in that indie scene. 00:01:07.319 --> 00:01:09.000 And by the end of this deep dive, hopefully, 00:01:09.079 --> 00:01:11.159 you'll really get why. You'll understand the 00:01:11.159 --> 00:01:14.219 dedication, the unique vision that earned him 00:01:14.219 --> 00:01:16.280 that kind of reputation. Yeah, there's a lot 00:01:16.280 --> 00:01:19.760 there. So our mission today is to really unpack 00:01:19.760 --> 00:01:25.099 the core influences, the totally unique and deeply 00:01:25.099 --> 00:01:28.560 personal creative processes, you know, and just 00:01:28.560 --> 00:01:32.099 the profound artistry that defines Elvarum's 00:01:32.099 --> 00:01:34.780 huge body of work. It's constantly evolving too. 00:01:34.959 --> 00:01:37.219 We'll be exploring how his sense of place and 00:01:37.219 --> 00:01:40.799 a Cortes Olympia, how that feeds in, his philosophical 00:01:40.799 --> 00:01:43.260 outlook, and of course the really profound life 00:01:43.260 --> 00:01:45.859 experiences he's gone through. how all that shaped 00:01:45.859 --> 00:01:48.000 a sound and an aesthetic that's, well, unlike 00:01:48.000 --> 00:01:49.920 anyone else working today, really. And what's 00:01:49.920 --> 00:01:52.200 so striking about his approach, I think, is how 00:01:52.200 --> 00:01:54.519 it presents this holistic vision. It's not just 00:01:54.519 --> 00:01:56.599 songs in isolation. No, definitely not. He just 00:01:56.599 --> 00:01:59.239 completely blurs the lines between musician, 00:01:59.840 --> 00:02:02.620 visual artist, even philosopher sometimes. Yeah. 00:02:02.900 --> 00:02:06.040 It can be challenging maybe, but it's also incredibly 00:02:06.040 --> 00:02:08.710 rewarding. It kind of asks us. you know, to consider 00:02:08.710 --> 00:02:11.050 the entirety of what an artist puts out. Right, 00:02:11.169 --> 00:02:13.710 not just the mp3 file. Exactly, not just the 00:02:13.710 --> 00:02:16.409 tracks. It's the context, the presentation, the 00:02:16.409 --> 00:02:19.229 physical object itself, the ideas behind it, 00:02:19.650 --> 00:02:21.949 the whole package basically. The whole ecosystem. 00:02:22.110 --> 00:02:24.469 Yeah, that's a good way to put it. So we're going 00:02:24.469 --> 00:02:26.110 to try and connect the dots, right, from his 00:02:26.110 --> 00:02:28.689 early life. Trace that creative evolution because 00:02:28.689 --> 00:02:31.289 it is an evolution and really delve into the 00:02:31.289 --> 00:02:34.449 themes the really impactful often deeply emotional 00:02:34.449 --> 00:02:37.330 themes Woven through his discography, which is 00:02:37.330 --> 00:02:39.889 vast. Oh, it's huge. Yeah, and for you listening 00:02:39.889 --> 00:02:42.650 we hope this deep dive gives you maybe a fresh 00:02:42.650 --> 00:02:45.770 perspective on an artist who just absolutely 00:02:45.770 --> 00:02:50.789 exemplifies self -reliance and unwavering artistic 00:02:50.789 --> 00:02:52.770 integrity. It's quite something. It really is 00:02:52.770 --> 00:02:54.889 inspiring in that way. You'll uncover how these 00:02:54.889 --> 00:02:57.590 incredibly personal stories, through Elvarum's 00:02:57.590 --> 00:03:00.789 kind of unique artistic alchemy, can become universal. 00:03:00.830 --> 00:03:04.330 How they speak to shared human experiences, nature, 00:03:04.490 --> 00:03:08.069 love, loss, all of it. The big stuff. Yeah, the 00:03:08.069 --> 00:03:10.009 big stuff. So this isn't just a deep dive about 00:03:10.009 --> 00:03:12.849 music. It's really about a way of living and 00:03:12.849 --> 00:03:17.039 creating that's, well, genuinely inspiring. It 00:03:17.039 --> 00:03:20.439 feels almost like a manifesto for artistic authenticity 00:03:20.439 --> 00:03:22.379 sometimes. It's not a bad way to think about 00:03:22.379 --> 00:03:24.280 it. So let's start peeling back the layers. Let's 00:03:24.280 --> 00:03:26.240 trace the roots of this visionary artist right 00:03:26.240 --> 00:03:28.699 from the beginning. OK, so Phil Elverm's story. 00:03:29.520 --> 00:03:31.979 And really, so much of his artistic identity, 00:03:32.699 --> 00:03:34.840 it feels intrinsically linked to where he started. 00:03:35.219 --> 00:03:37.939 Anacortes, Washington. Right. That sense of place 00:03:37.939 --> 00:03:40.439 is huge for him. Totally. He was born there May 00:03:40.439 --> 00:03:44.599 26, 1978. And his childhood, it sounds like it 00:03:44.599 --> 00:03:46.960 was steeped in this very specific kind of musical 00:03:46.960 --> 00:03:50.460 immersion. His dad apparently used to make mixtapes 00:03:50.460 --> 00:03:53.560 for him and his sister. Oh, wow. Actual mixtapes. 00:03:53.620 --> 00:03:57.080 That detail feels so perfect somehow. Doesn't 00:03:57.080 --> 00:03:59.300 it? It's almost emblematic of Elvrom's whole 00:03:59.300 --> 00:04:01.419 later DIY thing. Like, this wasn't just passive 00:04:01.419 --> 00:04:04.139 listening on the radio. This was curated, hands 00:04:04.139 --> 00:04:06.580 -on music consumption, you know, pre -Spotify. 00:04:06.639 --> 00:04:09.060 Totally. Handwritten track list, probably. The 00:04:09.060 --> 00:04:12.090 whole ritual. Exactly. Imagine that sense of 00:04:12.090 --> 00:04:14.650 discovery baked into each tape. It must have 00:04:14.650 --> 00:04:16.709 shaped this really early, intimate connection 00:04:16.709 --> 00:04:19.790 to sound. For sure. A very direct way to experience 00:04:19.790 --> 00:04:21.930 music. And then his own musical journey started, 00:04:22.170 --> 00:04:24.610 maybe surprisingly, with the tuba. The tuba, 00:04:24.629 --> 00:04:26.449 right. You don't immediately picture that for 00:04:26.449 --> 00:04:29.050 an indie icon. Not really. But that evolved. 00:04:29.410 --> 00:04:31.550 By the time he was 14, he'd moved on to drums, 00:04:31.889 --> 00:04:34.329 which maybe feels a bit more predictable. More 00:04:34.329 --> 00:04:36.509 rhythmic foundation. And he formed his first 00:04:36.509 --> 00:04:39.160 band called Newbert Circus. and he started writing 00:04:39.160 --> 00:04:41.600 lyrics then too. Okay, so drumming and writing 00:04:41.600 --> 00:04:44.379 early on. Yeah, and this whole progression, right, 00:04:44.439 --> 00:04:47.759 from getting these curated mixtapes to learning 00:04:47.759 --> 00:04:49.860 instruments, starting bands, writing lyrics, 00:04:50.620 --> 00:04:53.560 it speaks volumes. It shows this fundamental, 00:04:53.639 --> 00:04:57.279 like self -directed, hands -on approach to both 00:04:57.279 --> 00:04:59.930 listening, and creating music. It feels like 00:04:59.930 --> 00:05:02.189 it clearly laid the groundwork for everything 00:05:02.189 --> 00:05:04.850 that came later. That's precisely it. What's 00:05:04.850 --> 00:05:07.310 intriguing here, I think, is how those earliest 00:05:07.310 --> 00:05:09.790 experiences, the mix takes, the drumming, the 00:05:09.790 --> 00:05:12.490 early lyrics. They didn't just expose him to 00:05:12.490 --> 00:05:14.550 music. They kind of cultivated this internal 00:05:14.550 --> 00:05:17.329 way of working. Yeah, a methodology. Exactly. 00:05:17.670 --> 00:05:20.250 They laid this remarkably clear path for his 00:05:20.250 --> 00:05:23.750 later super self -sufficient multi -instrumentalist 00:05:23.750 --> 00:05:26.170 approach, where he really is the architect of 00:05:26.170 --> 00:05:28.930 every single detail. Total control. Right. It 00:05:28.930 --> 00:05:31.569 suggests a childhood that was rich in, well, 00:05:31.629 --> 00:05:33.790 sonic exploration, obviously, but also in this 00:05:33.790 --> 00:05:36.230 kind of self -directed learning, where direct 00:05:36.230 --> 00:05:39.610 experience trumps formal instruction, you know. 00:05:39.910 --> 00:05:42.170 Definitely. Makes you wonder, doesn't it? How 00:05:42.170 --> 00:05:44.629 much do those first interactions with art, those 00:05:44.629 --> 00:05:47.689 formative moments, really shape an artist's whole 00:05:47.689 --> 00:05:51.170 adult output, their voice? It has to be significant. 00:05:51.310 --> 00:05:53.189 For Elvarum, these weren't just childhood hobbies. 00:05:53.350 --> 00:05:55.449 They feel like undeniable building blocks for 00:05:55.449 --> 00:05:57.750 his whole artistic identity. Yeah. And for anyone 00:05:57.750 --> 00:06:00.430 listening who... grew up with parents, sharing 00:06:00.430 --> 00:06:02.870 music like that, making those pre -streaming 00:06:02.870 --> 00:06:04.730 playlists or maybe discovered their first instrument 00:06:04.730 --> 00:06:07.370 and felt that spark, Elvrem's beginnings, they 00:06:07.370 --> 00:06:10.430 really resonate. That universal feeling of finding 00:06:10.430 --> 00:06:12.889 your passion. Right. It reminds you that often 00:06:12.889 --> 00:06:15.389 the most authentic creative journeys, they don't 00:06:15.389 --> 00:06:17.490 start in fancy schools or whatever, but in these 00:06:17.490 --> 00:06:21.009 really personal, intimate, often kind of analog 00:06:21.009 --> 00:06:24.089 spaces. Yeah. So after high school, Elvrem didn't 00:06:24.089 --> 00:06:27.189 just stay put. He actively sought out experiences, 00:06:27.730 --> 00:06:29.790 went traveling across Canada for a bit. Getting 00:06:29.790 --> 00:06:31.930 out, seeing things. Yeah, absorbing, observing. 00:06:32.250 --> 00:06:36.490 And then, in the summer of 97, he made this really 00:06:36.490 --> 00:06:40.810 pivotal move to Olympia, Washington. Ah, Olympia, 00:06:40.949 --> 00:06:43.709 okay. That's a key location in indie music history. 00:06:43.990 --> 00:06:47.410 Absolutely. It was this thriving, almost legendary 00:06:47.410 --> 00:06:50.009 hub for independent music back then. He lived 00:06:50.009 --> 00:06:53.509 there until about 2002. and while he did briefly 00:06:53.509 --> 00:06:55.810 attend Evergreen State College. Which is known 00:06:55.810 --> 00:06:58.329 for being pretty alternative itself. Right, but 00:06:58.329 --> 00:07:00.589 it's clear his real education was happening elsewhere. 00:07:01.029 --> 00:07:03.750 He openly said he preferred the local music scene 00:07:03.750 --> 00:07:05.750 to formal classes. That was the whole reason 00:07:05.750 --> 00:07:07.769 he moved there. Makes sense, following the music. 00:07:08.029 --> 00:07:10.170 And his main source of income during this time, 00:07:10.310 --> 00:07:12.810 he said it was small music tours, which just 00:07:12.810 --> 00:07:14.870 underlines how committed he was right from the 00:07:14.870 --> 00:07:17.089 start. He was literally touring and creating 00:07:17.089 --> 00:07:20.129 to get by, not aiming for some conventional career 00:07:20.129 --> 00:07:23.170 path. And that period in Olympia was absolutely 00:07:23.170 --> 00:07:24.910 foundational for him. It wasn't just a place 00:07:24.910 --> 00:07:27.990 to live. It was like a crucible, a vital center 00:07:27.990 --> 00:07:31.050 for indie music that really fostered the specific 00:07:31.050 --> 00:07:33.850 ethos, right? Anti -commercialism, community 00:07:33.850 --> 00:07:37.629 support, a huge emphasis on DIY. And that K Records 00:07:37.629 --> 00:07:40.670 vibe. Exactly. His punk rock experience there, 00:07:40.670 --> 00:07:42.670 as he called it, it wasn't just about listening 00:07:42.670 --> 00:07:45.329 to punk bands. It was about immersing himself 00:07:45.329 --> 00:07:48.910 in this hands -on, community -driven learning 00:07:48.910 --> 00:07:51.009 model. You booked your own zines. You booked 00:07:51.009 --> 00:07:53.029 your own shows. You recorded on whatever gear 00:07:53.029 --> 00:07:54.970 you could find. Totally grassroots. Completely. 00:07:55.050 --> 00:07:57.449 It wasn't about grades or diplomas. It was about 00:07:57.449 --> 00:08:00.629 raw creation, collaboration, connection within 00:08:00.629 --> 00:08:03.310 this really vibrant, often pretty scrappy, artistic 00:08:03.310 --> 00:08:07.209 community. That environment clearly shaped his 00:08:07.209 --> 00:08:09.850 fiercely independent spirit. It ingrained that 00:08:09.850 --> 00:08:12.110 commitment to self -sufficiency that just defines 00:08:12.110 --> 00:08:14.610 his later work. And that deep immersion in Olympia. 00:08:14.670 --> 00:08:16.750 It wasn't just the music itself, right? It was 00:08:16.750 --> 00:08:19.629 the whole scene, the ecosystem. The context mattered. 00:08:19.839 --> 00:08:23.459 And a huge part of that ecosystem, even before 00:08:23.459 --> 00:08:25.500 Olympia, and then kind of feeding back into it, 00:08:25.879 --> 00:08:28.779 was this one particular record store. It really 00:08:28.779 --> 00:08:31.980 solidified his early connections and gave him 00:08:31.980 --> 00:08:35.220 invaluable practical experience. Right, the business. 00:08:35.519 --> 00:08:38.440 The business, yeah. Back in Anacortes, he worked 00:08:38.440 --> 00:08:40.679 there in his teens, even before the Olympia move. 00:08:41.639 --> 00:08:43.759 And it sounds like it was way more than just 00:08:43.759 --> 00:08:46.159 a retail job. It was like a sanctuary, a workshop. 00:08:46.360 --> 00:08:49.659 A point of entry. Exactly. He'd apparently record 00:08:49.659 --> 00:08:52.460 music in the back room after hours, basically 00:08:52.460 --> 00:08:54.820 turn it into his personal studio. That's amazing. 00:08:55.019 --> 00:08:57.840 And it was there, in that environment, that he 00:08:57.840 --> 00:09:00.419 met Brett Lunsford. From beat happening, huge 00:09:00.419 --> 00:09:02.759 figure in that scene. Yeah, K records royalty, 00:09:02.799 --> 00:09:05.440 basically. And Lunsford offered him this really 00:09:05.440 --> 00:09:07.580 significant opportunity, the drumming gig for 00:09:07.580 --> 00:09:10.700 the band D plus A. alongside Carl Blau. Okay, 00:09:10.720 --> 00:09:12.879 so that's a direct link into the established 00:09:12.879 --> 00:09:15.419 scene. Totally. It integrated him into that wider 00:09:15.419 --> 00:09:18.399 Pacific Northwest indie community. And even during 00:09:18.399 --> 00:09:21.080 his Olympia years, if money got tight, he'd apparently 00:09:21.080 --> 00:09:23.879 go back to Anacortes, back to the business. It 00:09:23.879 --> 00:09:25.820 shows how important it remained for him. A home 00:09:25.820 --> 00:09:29.980 base, in a way. Yeah. And Elvam himself, he explicitly 00:09:29.980 --> 00:09:33.000 called his time there his entry point to alternative 00:09:33.000 --> 00:09:35.539 music. So that helped him get deeply immersed. 00:09:35.879 --> 00:09:37.950 It just... powerfully highlights the impact of 00:09:37.950 --> 00:09:40.590 these local institutions, you know, informal 00:09:40.590 --> 00:09:43.190 menderships, grassroots connections. They matter 00:09:43.190 --> 00:09:46.090 so much in an artist's early years. Oh, absolutely. 00:09:46.090 --> 00:09:48.330 From a broader perspective, working in a record 00:09:48.330 --> 00:09:50.669 store like that, it's an education in itself. 00:09:50.669 --> 00:09:53.610 You get this unparalleled organic exposure to 00:09:53.610 --> 00:09:55.710 tons of different sounds, underground scenes, 00:09:55.950 --> 00:09:59.169 networks, often way more effectively than any 00:09:59.169 --> 00:10:01.549 formal music class could give you. True. It's 00:10:01.549 --> 00:10:03.850 real world learning. And meeting Lunsford, joining 00:10:03.850 --> 00:10:06.500 Deep List, that wasn't just practice. band experience, 00:10:06.720 --> 00:10:10.059 it plugged him directly into this significant 00:10:10.059 --> 00:10:13.299 regional music community, connected him to influential 00:10:13.299 --> 00:10:16.620 labels like K Records, Key Artists. Even before 00:10:16.620 --> 00:10:19.379 his own main projects, the microphones and Mount 00:10:19.379 --> 00:10:21.580 Eerie really took off. Right, building that foundation. 00:10:21.740 --> 00:10:24.419 It just underscores how these organic community 00:10:24.419 --> 00:10:26.740 connections and sort of informal apprenticeships 00:10:26.740 --> 00:10:29.220 often pave a much more impactful path for artistic 00:10:29.220 --> 00:10:30.879 growth than the traditional routes. It's about 00:10:30.879 --> 00:10:34.149 being in it. Totally. Being in the thick of it. 00:10:34.529 --> 00:10:36.750 And that sense of immersion, it just kept deepening. 00:10:37.169 --> 00:10:40.889 By January 2000, Elvarum was living at the legendary 00:10:40.889 --> 00:10:43.850 track house in Olympia. The track house, right. 00:10:44.059 --> 00:10:46.399 Heard stories about that place. Yeah. Well, before 00:10:46.399 --> 00:10:47.940 that, he'd apparently lived in some other pretty 00:10:47.940 --> 00:10:50.580 unique spots, including one he vividly described 00:10:50.580 --> 00:10:54.080 as the House of Doom in Quincy, Washington. House 00:10:54.080 --> 00:10:56.639 of Doom. Seriously. Seriously. His description 00:10:56.639 --> 00:10:59.860 is amazing. Legitimately haunted. Raccoons and 00:10:59.860 --> 00:11:01.679 rats would eat your food right off the shelf. 00:11:02.340 --> 00:11:05.340 Poison barrels buried in the yard. Wow. OK, that's 00:11:05.340 --> 00:11:06.779 intense. Sounds like something out of one of 00:11:06.779 --> 00:11:09.279 his songs almost. Doesn't it? It adds this raw, 00:11:09.539 --> 00:11:12.440 unconventional, almost kind of wild personality 00:11:12.440 --> 00:11:15.769 to his early years. suggests a comfort with the 00:11:15.769 --> 00:11:17.929 untamed maybe. Or just making do with what was 00:11:17.929 --> 00:11:21.090 available. The classic starving artist trope. 00:11:21.210 --> 00:11:23.070 Probably a bit of both. Anyway, the track house 00:11:23.070 --> 00:11:25.610 itself was this black house surrounded by forests 00:11:25.610 --> 00:11:28.690 and it was renowned as this hub, a dwelling and 00:11:28.690 --> 00:11:31.429 creative space used by a lot of prominent independent 00:11:31.429 --> 00:11:33.370 musicians in the Olympia scene. This has been 00:11:33.370 --> 00:11:35.389 a really collaborative atmosphere. Yeah, like 00:11:35.389 --> 00:11:38.129 a shared creative space. Totally. And in his 00:11:38.129 --> 00:11:40.690 free time there, Elverwum would apparently record 00:11:40.690 --> 00:11:43.049 music just across the street at Dubb Narcotics 00:11:43.049 --> 00:11:45.889 Studio, Calvin Johnson's studio, right? Another 00:11:45.889 --> 00:11:48.009 K Records connection. And he even volunteered 00:11:48.009 --> 00:11:51.049 at a local food co -op, just further embedding 00:11:51.049 --> 00:11:53.529 himself in that whole community fabric. He eventually 00:11:53.529 --> 00:11:56.370 moved out by 2002. But it really paints this 00:11:56.370 --> 00:12:00.990 picture of intense communal and, yeah, often 00:12:00.990 --> 00:12:03.919 unconventional creative living. That period really 00:12:03.919 --> 00:12:06.440 gives you a vivid picture of an artist living 00:12:06.440 --> 00:12:09.299 deeply within this vibrant creative ecosystem. 00:12:09.559 --> 00:12:11.220 The track house wasn't just a place to crash. 00:12:11.299 --> 00:12:14.139 It was a crucial node, a nexus in this dynamic 00:12:14.139 --> 00:12:17.399 artistic network. A place where art and community 00:12:17.399 --> 00:12:19.919 just completely intertwined. Like an incubator. 00:12:20.139 --> 00:12:22.659 Exactly. A low -cost incubator for independent 00:12:22.659 --> 00:12:25.519 artists. It speaks volumes about how important 00:12:25.519 --> 00:12:27.820 physical spaces and shared experiences are for 00:12:27.820 --> 00:12:30.879 creative development. These unique, often kind 00:12:30.879 --> 00:12:34.100 of bohemian and they'd become these crucibles 00:12:34.100 --> 00:12:36.379 for artistic innovation. They nurture talents 00:12:36.379 --> 00:12:38.179 that might just struggle to flourish in more 00:12:38.179 --> 00:12:40.500 conventional settings. Yeah, totally. And thinking 00:12:40.500 --> 00:12:43.299 back to that House of Doom description, it makes 00:12:43.299 --> 00:12:46.120 you wonder, doesn't it, how living in those kinds 00:12:46.120 --> 00:12:48.899 of unconventional, almost wild environments surrounded 00:12:48.899 --> 00:12:53.059 by nature's rawness, but also maybe human neglect... 00:12:53.120 --> 00:12:55.779 How might that have subconsciously ingrained 00:12:55.779 --> 00:12:59.200 that sense of impermanence, that subtle unease, 00:12:59.240 --> 00:13:02.080 the raw, untamed aspects of nature that become 00:13:02.080 --> 00:13:04.620 so central to his lyrics later on? That's a really 00:13:04.620 --> 00:13:06.759 interesting thought. Like, it seeped in through 00:13:06.759 --> 00:13:08.980 lived experience. Could be. It certainly offers 00:13:08.980 --> 00:13:12.299 this powerful glimpse into the bohemian, community 00:13:12.299 --> 00:13:14.860 -driven origins of so many independent artists. 00:13:15.379 --> 00:13:18.019 It reminds us that really profound inspiration 00:13:18.019 --> 00:13:20.360 often comes from unique environments and deeply 00:13:20.360 --> 00:13:22.539 lived, sometimes pretty challenging, experiences. 00:13:22.539 --> 00:13:25.500 not just from formal training or polished studios. 00:13:25.799 --> 00:13:27.600 Yeah. It's about full immersion, isn't it, into 00:13:27.600 --> 00:13:29.460 a lifestyle that actually supports and shapes 00:13:29.460 --> 00:13:32.179 the art. Mm -hmm. Okay, so Phil Elveram. He's 00:13:32.179 --> 00:13:34.379 best known, obviously, for recording and performing 00:13:34.379 --> 00:13:36.919 under these two distinct, yet really intimately 00:13:36.919 --> 00:13:39.320 connected names, the microphones. Which ran from 00:13:39.320 --> 00:13:42.460 96 to 2003, roughly, then came back more recently, 00:13:42.639 --> 00:13:45.759 2019 to 2022. Right, and then Mount Urie, which 00:13:45.759 --> 00:13:48.100 has been his main project from 2003, basically 00:13:48.100 --> 00:13:50.740 up to the present. Mm -hmm. But what's really 00:13:50.740 --> 00:13:54.580 illuminating is how Elvarum himself sees these 00:13:54.580 --> 00:13:56.840 projects. He doesn't view them as totally separate 00:13:56.840 --> 00:13:59.519 things. He talks about them as one progression. 00:13:59.519 --> 00:14:01.720 One progression, right, like a continuous body 00:14:01.720 --> 00:14:03.779 of work. Yeah, with a cohesive theme running 00:14:03.779 --> 00:14:07.039 through them. But, and this is crucial, he does 00:14:07.039 --> 00:14:09.519 acknowledge this deeply significant dividing 00:14:09.519 --> 00:14:13.039 line. His words were between pre -Genevieve dying 00:14:13.039 --> 00:14:15.519 and post -Genevieve dying. Referring to his late 00:14:15.519 --> 00:14:18.559 wife, Genevieve Castray. Yeah. That's a profound 00:14:18.559 --> 00:14:20.919 marker. It really is. It highlights this huge 00:14:20.919 --> 00:14:22.940 personal demarcation of the before and after 00:14:22.940 --> 00:14:25.799 that just dramatically reshaped his whole artistic 00:14:25.799 --> 00:14:28.340 journey. Absolutely. Changes everything. And 00:14:28.340 --> 00:14:32.320 his output is just astounding. The National Nanomintry 00:14:32.320 --> 00:14:35.139 reported back in 2019 that he'd created 40 plus 00:14:35.139 --> 00:14:37.899 albums across these projects. 40 plus? That's 00:14:37.899 --> 00:14:39.840 incredibly prolific. It's an unbelievable body 00:14:39.840 --> 00:14:42.159 of work by any standard. And it's fascinating 00:14:42.159 --> 00:14:44.799 how he frames those projects, the microphones 00:14:44.799 --> 00:14:47.799 and Mount Erie, as this continuous artistic journey. 00:14:48.000 --> 00:14:51.059 Not separate bands. It's not just like a rebranding 00:14:51.059 --> 00:14:53.220 exercise when he switches names. No, it feels 00:14:53.220 --> 00:14:55.360 much deeper than that. It's a profound testament 00:14:55.360 --> 00:14:58.460 to an artist whose life and art are so deeply 00:14:58.460 --> 00:15:00.620 intertwined that they just become inseparable. 00:15:01.159 --> 00:15:04.120 That demarcation point, Genevieve's death, it 00:15:04.120 --> 00:15:07.360 signifies this undeniable, almost seismic shift. 00:15:07.480 --> 00:15:09.440 not just in his personal life, but in the very 00:15:09.440 --> 00:15:12.840 fabric of his art. It's an evolution, sure, but 00:15:12.840 --> 00:15:15.840 one driven by the deepest human experience, where 00:15:15.840 --> 00:15:18.500 life's biggest events become the raw material, 00:15:18.580 --> 00:15:21.399 the very essence of what he creates. It forces 00:15:21.399 --> 00:15:24.419 us as listeners to really acknowledge and engage 00:15:24.419 --> 00:15:27.039 with the intensely personal core of his work. 00:15:27.320 --> 00:15:30.779 And that whole concept of one progression, where 00:15:30.779 --> 00:15:33.259 personal experience so clearly shapes the art, 00:15:33.779 --> 00:15:35.720 it kind of invites us to reflect on our own lives, 00:15:35.740 --> 00:15:38.879 doesn't it? How do our own pivotal moments, our 00:15:38.879 --> 00:15:41.899 personal stories, redefine our creative work, 00:15:42.179 --> 00:15:44.279 or even just our professional identity over time? 00:15:44.639 --> 00:15:47.980 It's a powerful reminder of how we all continuously 00:15:47.980 --> 00:15:51.460 evolve, and how art can be this mirror reflecting 00:15:51.460 --> 00:15:53.559 that evolution. Yeah, it makes it very human. 00:15:53.820 --> 00:15:56.840 And this deeply personal approach. It's not just 00:15:56.840 --> 00:15:59.740 in his themes. It extends directly into how he 00:15:59.740 --> 00:16:02.379 makes and distributes his music. Makes him a 00:16:02.379 --> 00:16:05.059 true artisan of sound in every sense. Right, 00:16:05.139 --> 00:16:08.179 the whole process. So in 2004, he took maybe 00:16:08.179 --> 00:16:11.360 the biggest step towards total artistic eponymy. 00:16:11.700 --> 00:16:15.700 He started his own label. PW Elverman Sun, LTD. 00:16:15.879 --> 00:16:17.620 Okay, taking control of the business side, too. 00:16:17.779 --> 00:16:20.279 Exactly. And through this label, he releases 00:16:20.279 --> 00:16:22.379 records not only for Mount Eerie and the microphones, 00:16:22.519 --> 00:16:24.299 but also for other artists he supports, like 00:16:24.299 --> 00:16:27.320 The Spectacle, Thanksgiving, Wolves. Ah, so curating 00:16:27.320 --> 00:16:30.039 other artists as well. Yeah. But what truly sets 00:16:30.039 --> 00:16:31.799 him apart, especially in the modern music industry, 00:16:31.960 --> 00:16:35.059 is his unwavering, almost radical DIY ethos. 00:16:35.120 --> 00:16:37.159 It's pretty extreme, yeah. He personally prints, 00:16:37.500 --> 00:16:39.559 packages, and ships his vinyl and merchandise. 00:16:39.950 --> 00:16:42.309 directly to listeners. Which is incredible dedication. 00:16:42.610 --> 00:16:44.809 Takes a lot of time. Unbelievable amount of time. 00:16:44.909 --> 00:16:47.789 Plus, he creates all the visual art for his releases 00:16:47.789 --> 00:16:51.269 himself, ensuring this totally cohesive aesthetic 00:16:51.269 --> 00:16:54.210 vision from the sound right down to the tactile 00:16:54.210 --> 00:16:56.789 packaging. It's all one piece. And he explained 00:16:56.789 --> 00:16:59.409 why he does it this way. He said he wanted to 00:16:59.409 --> 00:17:02.149 understand the process holistically and then 00:17:02.149 --> 00:17:04.430 maybe grow into more complex forms of organization 00:17:04.430 --> 00:17:08.160 later. Interesting. So it's about deep understanding, 00:17:08.500 --> 00:17:11.119 not just control for control's sake. Seems like 00:17:11.119 --> 00:17:13.279 it. It feels like this deliberate philosophical 00:17:13.279 --> 00:17:15.700 stance. And it extends to the recording, too, 00:17:15.740 --> 00:17:18.119 right? He mostly uses analog recording equipment. 00:17:18.319 --> 00:17:20.440 Yeah, you can often hear that warmth, that tape 00:17:20.440 --> 00:17:23.420 hiss sometimes. It feels more organic. Definitely. 00:17:23.700 --> 00:17:25.740 Maybe more imperfect sometimes, but in a way 00:17:25.740 --> 00:17:29.240 that feels distinctively human compared to, you 00:17:29.240 --> 00:17:32.160 know, super pristine digital stuff. That has 00:17:32.160 --> 00:17:34.740 character. And he often works in his own studio 00:17:34.740 --> 00:17:38.380 spaces, valuing that time and freedom to experiment 00:17:38.380 --> 00:17:41.339 without external pressures or constantly watching 00:17:41.339 --> 00:17:43.380 the clock in an extensive studio. That freedom 00:17:43.380 --> 00:17:46.279 is key for his kind of exploratory work, I imagine. 00:17:46.359 --> 00:17:48.799 Must be. And this whole approach, it really raises 00:17:48.799 --> 00:17:51.180 a crucial question, especially today with the 00:17:51.180 --> 00:17:53.920 digital... often outsourced music industry we 00:17:53.920 --> 00:17:57.160 have. What does it truly mean for an artist to 00:17:57.160 --> 00:17:59.819 maintain such granular, meticulous control over 00:17:59.819 --> 00:18:02.539 every single aspect? Yeah, it's almost anachronistic, 00:18:02.559 --> 00:18:08.329 but in a really compelling way. Efficiency or 00:18:08.329 --> 00:18:11.309 independence, it feels like a profound philosophical 00:18:11.309 --> 00:18:14.210 statement, a rejection of how the industry often 00:18:14.210 --> 00:18:16.670 commodifies art. Right. He seems to be insisting 00:18:16.670 --> 00:18:19.329 that the value lies just as much in the intimate, 00:18:19.609 --> 00:18:22.210 tangible process. You know, the feel of the letterpress 00:18:22.210 --> 00:18:25.309 paper, the subtle hum of the analog tape as it 00:18:25.309 --> 00:18:27.430 does in the polished vinyl track. The artifact 00:18:27.430 --> 00:18:30.670 itself matters. Exactly. It's this act of radical 00:18:30.670 --> 00:18:33.269 authenticity, ensuring the entire experience 00:18:33.269 --> 00:18:35.549 from the sound waves hitting your ears to the 00:18:35.549 --> 00:18:37.980 physical object you hold. in your hands is this 00:18:37.980 --> 00:18:40.460 unadulterated extension of his singular vision. 00:18:41.059 --> 00:18:43.099 It really makes you appreciate the craft that 00:18:43.099 --> 00:18:45.519 goes into it beyond just streaming the song. 00:18:45.859 --> 00:18:48.039 Yeah. It makes you think about the value of craftsmanship, 00:18:48.180 --> 00:18:51.579 doesn't it? And that holistic, hands -on understanding 00:18:51.579 --> 00:18:54.579 of a process, not just in music, but in any field, 00:18:55.539 --> 00:18:57.460 it shows how maintaining that kind of control 00:18:57.640 --> 00:19:00.960 can lead to greater artistic integrity, a more 00:19:00.960 --> 00:19:04.579 authentic, deeply personal result. It stands 00:19:04.579 --> 00:19:07.880 in such stark contrast to the often impersonal 00:19:07.880 --> 00:19:10.079 nature of mass production. Yeah, it's a different 00:19:10.079 --> 00:19:12.700 way of valuing creation. Now while Elvarum is 00:19:12.700 --> 00:19:15.279 rightly celebrated for this unique solo vision, 00:19:15.579 --> 00:19:18.880 this intense introspection in his music, he wasn't 00:19:18.880 --> 00:19:22.089 exactly isolated in his early career. Far from 00:19:22.089 --> 00:19:24.269 it. Right. He was very connected to that scene. 00:19:24.609 --> 00:19:26.970 Before he started P .W., Elverm, and Sun, he 00:19:26.970 --> 00:19:29.650 was closely linked to K Records, the hugely influential 00:19:29.650 --> 00:19:31.930 indie label in the Pacific Northwest. He worked 00:19:31.930 --> 00:19:35.069 with artists like Myra, Kyle Field, Carl Blau, 00:19:35.309 --> 00:19:37.789 Calvin Johnson himself. All key figures. Yeah. 00:19:38.170 --> 00:19:39.950 And even though his own releases back then were 00:19:39.950 --> 00:19:42.750 mainly his own creations, he was clearly influenced 00:19:42.750 --> 00:19:45.109 by that strong sense of community, that collaborative 00:19:45.109 --> 00:19:47.869 spirit that defined the K Records scene. You 00:19:47.869 --> 00:19:49.470 couldn't really be part of that scene without 00:19:49.470 --> 00:19:52.539 collaborating, I think. Probably true. And his 00:19:52.539 --> 00:19:54.920 collaborations went beyond just production. He 00:19:54.920 --> 00:19:57.259 actively performed in other bands. He joined 00:19:57.259 --> 00:20:00.920 D Plus as the drummer back in 96, remember? With 00:20:00.920 --> 00:20:03.460 Brett Lunsford and Carl Blau. And he was also 00:20:03.460 --> 00:20:05.880 the drummer for Old Time Religant for a few years, 00:20:06.279 --> 00:20:09.519 from 98 to 2002. which is a much wilder, more 00:20:09.519 --> 00:20:12.559 raucous band, shows his versatility. Totally. 00:20:12.900 --> 00:20:14.859 And his production credits are significant, too. 00:20:15.319 --> 00:20:18.480 He produced Myra's debut album back in 2000 and 00:20:18.480 --> 00:20:21.059 then her next three records as well. Plus stuff 00:20:21.059 --> 00:20:24.359 like Adrian Orange's Thanksgiving album and Genevieve 00:20:24.359 --> 00:20:26.839 Castray's Pamphil Moosey. Right. Working closely 00:20:26.839 --> 00:20:29.190 with his future wife even then. These weren't 00:20:29.190 --> 00:20:31.210 just side gigs. They feel like they were really 00:20:31.210 --> 00:20:33.990 integral to his development as an artist and 00:20:33.990 --> 00:20:36.230 producer. Yeah, it's important to recognize that 00:20:36.230 --> 00:20:38.490 while Elvarum is known for his distinct solo 00:20:38.490 --> 00:20:41.150 vision, these collaborations and his extensive 00:20:41.150 --> 00:20:43.769 production work clearly show how integral he 00:20:43.769 --> 00:20:47.109 was to that whole vibrant Pacific Northwest indie 00:20:47.109 --> 00:20:49.910 scene. He wasn't some hermit artist locked away. 00:20:50.009 --> 00:20:52.829 No, he was embedded. deeply embedded in a community. 00:20:53.170 --> 00:20:56.130 It shows his willingness to lend his unique sonic 00:20:56.130 --> 00:20:59.230 signature to other people's projects, which enriches 00:20:59.230 --> 00:21:01.410 the collective scene, obviously, but also gives 00:21:01.410 --> 00:21:04.710 him diverse experience, all while he's simultaneously 00:21:04.710 --> 00:21:07.269 developing and refining his own distinct voice. 00:21:07.430 --> 00:21:10.769 Learning by doing and by collaborating. Exactly. 00:21:10.950 --> 00:21:13.910 That interplay between solo artistic growth and 00:21:13.910 --> 00:21:16.569 communal collaboration. That's often where artists 00:21:16.569 --> 00:21:18.349 really find their footing. They figure out what 00:21:18.349 --> 00:21:20.930 makes their own voice unique, partly by working 00:21:20.930 --> 00:21:23.289 alongside others. That makes a lot of sense. 00:21:23.589 --> 00:21:25.950 And these interactions with other artists alongside 00:21:25.950 --> 00:21:28.549 his own deep personal experiences and philosophical 00:21:28.549 --> 00:21:32.069 explorations, they all profoundly influence his 00:21:32.069 --> 00:21:34.650 artistic direction and especially the lyrical 00:21:34.650 --> 00:21:36.650 themes that would come to define his work. Yeah, 00:21:36.710 --> 00:21:39.190 the themes are so central. His musical influences 00:21:39.190 --> 00:21:41.769 are incredibly diverse. It's like this rich, 00:21:42.190 --> 00:21:44.789 sometimes really surprising tapestry that goes 00:21:44.789 --> 00:21:47.210 a long way in explaining his unique sound. It's 00:21:47.210 --> 00:21:49.829 not just one thing, is it? Not at all. He draws 00:21:49.829 --> 00:21:52.109 from indie rock, obviously acts like Eric Strip, 00:21:52.230 --> 00:21:54.609 Will Oldham, Sonic Youth, and the minimalist 00:21:54.609 --> 00:21:56.730 repetition of Stereo Lab, which we'll come back 00:21:56.730 --> 00:21:59.700 to. But he also includes like the Avant Papa 00:21:59.700 --> 00:22:02.720 Björk, the raw power of Nirvana grunge was huge 00:22:02.720 --> 00:22:04.920 for him. Right, growing up in Washington state. 00:22:05.240 --> 00:22:08.240 Exactly. The experimental textures of German 00:22:08.240 --> 00:22:11.319 Crouch Rock bands like Popelvue, even the super 00:22:11.319 --> 00:22:13.579 heavy atmospheric drone of Salomo. Which you 00:22:13.579 --> 00:22:16.480 can definitely hear echoes of in some Mount Eerie 00:22:16.480 --> 00:22:19.259 stuff, that weight. Totally. And then here's 00:22:19.259 --> 00:22:22.059 a fascinating curveball. He's also cited more 00:22:22.059 --> 00:22:25.240 pop -oriented artists. Angelo Badalamenti, okay, 00:22:25.359 --> 00:22:28.380 maybe not pop, but Lynch's composer. Yeah, Twin 00:22:28.380 --> 00:22:31.059 Peaks Connection again. Tori Amis, The Cranberries, 00:22:32.019 --> 00:22:35.180 Sinead O 'Connor, and he's specifically called 00:22:35.180 --> 00:22:38.460 grunge a formative influence. It's a real mix. 00:22:38.700 --> 00:22:41.710 Beyond music. His non -music influences are just 00:22:41.710 --> 00:22:44.930 as insightful. Deeply rooted in Zen poetry, specifically 00:22:44.930 --> 00:22:47.150 the work of I .I. Dugan and Gary Snyder. Okay, 00:22:47.150 --> 00:22:49.309 that explains a lot about the contemplative side, 00:22:49.410 --> 00:22:51.930 the nature focus, the impermanence themes. Definitely. 00:22:52.150 --> 00:22:54.650 It informs his whole approach. In his process, 00:22:54.690 --> 00:22:58.009 he composes songs as he records them. It's spontaneous, 00:22:58.230 --> 00:23:01.309 organic, allows for improvisation. He's always 00:23:01.309 --> 00:23:03.430 aiming for music that's, quote, deep sounding 00:23:03.430 --> 00:23:05.490 enough that a listener could potentially inhabit 00:23:05.490 --> 00:23:08.069 the world of sound totally. Creating an immersive 00:23:08.069 --> 00:23:11.250 space. Exactly. Now here's where it gets really 00:23:11.250 --> 00:23:13.190 interesting, giving his powerful insight into 00:23:13.190 --> 00:23:16.430 his artistic awakening. Elvarum talked about 00:23:16.430 --> 00:23:19.390 seeing Stereolab play live. Oh, the Stereolab 00:23:19.390 --> 00:23:22.109 story. In Bellingham, Washington. He said they 00:23:22.109 --> 00:23:25.430 played one chord for 15 minutes. And he stated 00:23:25.430 --> 00:23:28.250 that something in me shifted. And this is amazing. 00:23:29.210 --> 00:23:32.089 I brought home belief that I could create eternity. 00:23:32.509 --> 00:23:35.589 Wow. Finding eternity in a single chord held 00:23:35.589 --> 00:23:38.890 for 15 minutes. That is profound artistic revelation. 00:23:39.150 --> 00:23:41.289 Isn't it? Finding boundlessness and sustained 00:23:41.289 --> 00:23:43.390 sound. And you can hear how that might have influenced 00:23:43.390 --> 00:23:46.109 him. He also openly declared Julie Doy and his 00:23:46.109 --> 00:23:48.269 favorite singer and called meeting and playing 00:23:48.269 --> 00:23:50.869 with her a dream come true. Oh, that's sweet. 00:23:50.930 --> 00:23:53.430 Shows his admiration for other artists too. Yeah. 00:23:53.890 --> 00:23:56.450 And his work, it consistently explores this core 00:23:56.450 --> 00:23:59.829 set of themes. The moon, often as this silent 00:23:59.829 --> 00:24:02.869 observer. humanity's complex relationship with 00:24:02.869 --> 00:24:04.950 nature and technology, health, relationships, 00:24:05.170 --> 00:24:07.470 the human condition. Big existential stuff. Big 00:24:07.470 --> 00:24:09.970 stuff. Impermanence, loneliness, the fleetingness 00:24:09.970 --> 00:24:13.509 of life itself. However, and this is important, 00:24:13.930 --> 00:24:17.509 he denies his songs are primarily about just 00:24:17.509 --> 00:24:19.630 sadness or isolation. Right, he pushes back against 00:24:19.630 --> 00:24:21.849 that simple reading. He offers a more nuanced 00:24:21.849 --> 00:24:25.009 take. He sees nature in his work as quote just 00:24:25.009 --> 00:24:27.109 the version of a world that I used to represent 00:24:27.109 --> 00:24:29.549 a neutral non -human place where we're living 00:24:29.549 --> 00:24:31.930 out our weird adventures Okay, so nature is a 00:24:31.930 --> 00:24:34.569 backdrop not necessarily a comfort or an antagonist 00:24:34.569 --> 00:24:37.589 just indifferent exactly less about anthropomorphizing 00:24:37.589 --> 00:24:40.529 nature more using it as this stark in different 00:24:40.529 --> 00:24:42.890 setting for the often intense drama of human 00:24:42.890 --> 00:24:45.710 experience that eclectic mix of influences really 00:24:45.710 --> 00:24:48.069 does explain why his music consistently defies 00:24:48.069 --> 00:24:51.670 easy categorization indie rock drone grunge black 00:24:51.670 --> 00:24:54.170 metal little pop sensibilities. He's not bound 00:24:54.170 --> 00:24:56.710 by genre at all. He's drawing from this huge 00:24:56.710 --> 00:24:59.029 palette to create something completely new. His 00:24:59.029 --> 00:25:02.690 own thing. Entirely his own thing. And that Stereolab 00:25:02.690 --> 00:25:04.730 anecdote, it's such a perfect illustration of 00:25:04.730 --> 00:25:07.950 that moment of profound artistic insight finding 00:25:07.950 --> 00:25:11.529 eternity. or boundlessness in sustained, minimalist 00:25:11.529 --> 00:25:14.789 sound. That concept feels like it permeates his 00:25:14.789 --> 00:25:17.430 expansive, atmospheric, often really meditative 00:25:17.430 --> 00:25:20.670 compositions, where repetition and duration create 00:25:20.670 --> 00:25:23.190 this almost trance -like quality. Yeah, you get 00:25:23.190 --> 00:25:25.730 lost in it. Totally. And then the Zen poetry 00:25:25.730 --> 00:25:28.809 influence, with its focus on impermanence, mindfulness, 00:25:28.930 --> 00:25:31.329 and this deep, unromanticized connection with 00:25:31.329 --> 00:25:33.950 nature that ties directly into his recurring 00:25:33.950 --> 00:25:37.230 lyrical themes. It grounds his musical explorations 00:25:37.230 --> 00:25:39.599 in this deeper philosophical framework that embraces 00:25:39.599 --> 00:25:42.400 the transient nature of everything. Yeah. This 00:25:42.400 --> 00:25:44.960 exploration of such diverse influences and themes, 00:25:44.960 --> 00:25:47.640 it's not just like a laundry list of names. It 00:25:47.640 --> 00:25:49.819 really is a guide to understanding how truly 00:25:49.819 --> 00:25:52.400 original art synthesizes all these disparate 00:25:52.400 --> 00:25:55.700 ideas. It can help you maybe identify similar 00:25:55.700 --> 00:25:57.799 threads in your own favorite artists or even 00:25:57.799 --> 00:26:01.940 just recognize the myriad, sometimes really unexpected 00:26:01.940 --> 00:26:04.839 sources that shape your own perspectives. It's 00:26:04.839 --> 00:26:07.019 about seeing that interconnectedness of creative 00:26:07.019 --> 00:26:09.559 thought and appreciating the unique blend that 00:26:09.559 --> 00:26:12.740 makes an artist singular. Well put. But the evolution 00:26:12.740 --> 00:26:15.559 of these themes, and really his whole artistic 00:26:15.559 --> 00:26:18.900 approach, it became starkly, tragically apparent 00:26:18.900 --> 00:26:21.559 after this pivotal personal event. Right, the 00:26:21.559 --> 00:26:24.059 dividing line he mentioned. Exactly. Before he 00:26:24.059 --> 00:26:26.660 met Genevieve Castray, his songs, as he put it, 00:26:26.960 --> 00:26:29.279 were dictated by whatever specific turmoil I 00:26:29.279 --> 00:26:32.200 was going through. just raw, immediate reflections 00:26:32.200 --> 00:26:34.799 of his emotional state at the time. More diaristic, 00:26:34.819 --> 00:26:38.259 maybe. Perhaps. Then, after meeting her, this 00:26:38.259 --> 00:26:40.720 subtle but significant shift happened. He became 00:26:40.720 --> 00:26:42.819 more withdrawn in his lyrics, intentionally choosing 00:26:42.819 --> 00:26:45.579 not to discuss the relationship openly in his 00:26:45.579 --> 00:26:48.259 music, like creating this private artistic space 00:26:48.259 --> 00:26:50.680 just for their shared life. Bardedness. Yeah. 00:26:51.000 --> 00:26:53.440 And this privacy was maintained for years, until 00:26:53.440 --> 00:26:56.599 Mount Eerie's 2017 album, A Crow, looked at me. 00:26:56.680 --> 00:26:59.059 Which just broke everything open. Completely. 00:26:59.289 --> 00:27:02.650 that album profoundly broke the silence. It's 00:27:02.650 --> 00:27:04.670 entirely centered around her death from cancer. 00:27:05.190 --> 00:27:08.410 It's raw, it's unflinching, it's deeply personal, 00:27:08.769 --> 00:27:11.250 almost unbearably vulnerable, just an expression 00:27:11.250 --> 00:27:14.970 of grief in real time. It marked this definitive 00:27:14.970 --> 00:27:17.369 and obviously heartbreaking new chapter in his 00:27:17.369 --> 00:27:19.769 work. And that stark division in his themes, 00:27:19.849 --> 00:27:23.250 it just highlights the profound, almost seismic 00:27:23.250 --> 00:27:25.490 impact that personal experience can have on an 00:27:25.490 --> 00:27:28.359 artist's path. The decision to make a crow looked 00:27:28.359 --> 00:27:31.259 at me such a raw, unfiltered, almost journalistic 00:27:31.259 --> 00:27:34.900 expression of grief. It was an undeniable significant 00:27:34.900 --> 00:27:37.119 departure from that previous guardedness. Totally 00:27:37.119 --> 00:27:39.539 different mode. It wasn't just a breakup album 00:27:39.539 --> 00:27:42.299 or a tribute song. It felt like this real -time 00:27:42.299 --> 00:27:45.019 devastating documentation of loss as it was happening. 00:27:45.400 --> 00:27:47.720 It offered this unparalleled level of vulnerability, 00:27:48.220 --> 00:27:50.980 transforming his private anguish into this public 00:27:50.980 --> 00:27:53.299 yet somehow universally resonant work of art 00:27:53.299 --> 00:27:55.619 that spoke to the deepest ports of human sorrow. 00:27:56.319 --> 00:27:58.500 It's this powerful testament to art as a way 00:27:58.500 --> 00:28:00.819 of processing the unbearable. And for the listener, 00:28:01.119 --> 00:28:03.109 it's an invitation to empathize with a truly 00:28:03.109 --> 00:28:05.789 naked emotional experience. It's difficult listening, 00:28:05.950 --> 00:28:08.750 but profound. It really illustrates how deeply 00:28:08.750 --> 00:28:11.130 art can be intertwined with personal experience 00:28:11.130 --> 00:28:14.569 and how artists, in their most vulnerable moments, 00:28:14.990 --> 00:28:18.029 can channel these profound life events into works 00:28:18.029 --> 00:28:20.970 that resonate universally, speaking to the human 00:28:20.970 --> 00:28:23.930 condition itself. It's a testament to how the 00:28:23.930 --> 00:28:26.809 intensely personal can become profoundly universal. 00:28:26.910 --> 00:28:29.609 Absolutely. So when it comes to actually describing 00:28:29.609 --> 00:28:32.980 his musical style, Elvarum famously said, you 00:28:32.980 --> 00:28:34.940 can easily find out what my music sounds like. 00:28:35.079 --> 00:28:37.559 I will not try to describe it. Yeah, that's a 00:28:37.559 --> 00:28:40.319 classic Elvarum line. Defiant, isn't it? It really 00:28:40.319 --> 00:28:43.359 is. Almost provocative. He's basically forcing 00:28:43.359 --> 00:28:46.380 you, the listener, to just engage directly with 00:28:46.380 --> 00:28:48.740 the work. Forget the genre boxes, forget the 00:28:48.740 --> 00:28:51.180 preconceived notions, just listen. Let the music 00:28:51.180 --> 00:28:54.500 speak for itself. Exactly. But... he has offered 00:28:54.500 --> 00:28:57.339 a little glimpse into his aesthetic goals. He 00:28:57.339 --> 00:28:59.279 described them once as an attempt to replicate 00:28:59.279 --> 00:29:02.940 a dark presence in nature. Ooh, interesting phrase, 00:29:03.099 --> 00:29:06.019 a dark presence in nature. Yeah, a specific mood, 00:29:06.480 --> 00:29:08.259 an atmosphere he found really compelling in shows 00:29:08.259 --> 00:29:10.420 like Twin Peaks. Ah, the Twin Peaks connection 00:29:10.420 --> 00:29:13.900 again. Makes sense. That unsettling beauty. Totally. 00:29:14.480 --> 00:29:16.640 And appropriately enough, his writing has often 00:29:16.640 --> 00:29:19.980 been described as lynchian. evoking that similar 00:29:19.980 --> 00:29:22.799 sense of mystery, quiet strangeness, profound 00:29:22.799 --> 00:29:25.500 beauty mixed with something unsettling. Yeah, 00:29:25.680 --> 00:29:28.140 that fits. Critics, of course, despite his resistance, 00:29:28.500 --> 00:29:31.299 have tried to pin down his elusive sound. Vanity 00:29:31.299 --> 00:29:34.660 Fair called his aesthetic, acoustic, stripped 00:29:34.660 --> 00:29:37.900 down and ponderous. Ponderous. Skinny described 00:29:37.900 --> 00:29:42.079 it as dreamlike. morbid and transcendent. Morbid 00:29:42.079 --> 00:29:44.259 and transcendent, quite the combination. Right. 00:29:44.420 --> 00:29:47.359 His music seamlessly pulls in elements of ambient 00:29:47.359 --> 00:29:50.559 textures, traditional folk storytelling, even 00:29:50.559 --> 00:29:53.160 the raw aggression and atmospheric soundscapes 00:29:53.160 --> 00:29:56.210 of black metal sometimes. yet it consistently 00:29:56.210 --> 00:29:58.849 eludes an exact genre. It really does. You can't 00:29:58.849 --> 00:30:00.829 just slap one label on it. His songs are often 00:30:00.829 --> 00:30:03.390 really dynamic, too. They frequently alternate 00:30:03.390 --> 00:30:05.690 and shift, transitioning from these beautifully 00:30:05.690 --> 00:30:08.710 delicate melodies to pounding, fuzzy riffs, sometimes 00:30:08.710 --> 00:30:10.650 within the very same track. Those sudden shifts 00:30:10.650 --> 00:30:12.289 are definitely a hallmark. Keeps you on your 00:30:12.289 --> 00:30:14.990 toes. And you'll also notice these skittering 00:30:14.990 --> 00:30:17.269 rhythms and this distinctive merging of drum 00:30:17.269 --> 00:30:20.509 machines with acoustic elements, which adds to 00:30:20.509 --> 00:30:23.529 his unique often kind of hypnotic sonic world. 00:30:23.869 --> 00:30:26.509 The blend of organic and electronic, yeah. It's 00:30:26.509 --> 00:30:28.990 very characteristic. It is. And it's interesting 00:30:28.990 --> 00:30:32.230 to think about why an artist resists defining 00:30:32.230 --> 00:30:34.970 their own art like that. Maybe it is a deliberate 00:30:34.970 --> 00:30:37.549 strategy, you know, to let the listener engage 00:30:37.549 --> 00:30:39.990 unfiltered, free from the baggage of labels. 00:30:40.170 --> 00:30:43.480 Could be. Protects the work maybe perhaps and 00:30:43.480 --> 00:30:46.039 that Twin Peaks comparison is particularly telling 00:30:46.039 --> 00:30:48.519 I think it points to this very specific mood 00:30:48.519 --> 00:30:51.680 He's aiming for that sense of mystery the sublime 00:30:51.680 --> 00:30:54.579 But also the subtly unsettling within the natural 00:30:54.579 --> 00:30:57.039 world like a primal dread wrapped up in beauty. 00:30:57.039 --> 00:30:59.210 Yeah that captures it well And the fact that 00:30:59.210 --> 00:31:02.329 his work is so genre -defying, it's not a limitation. 00:31:02.490 --> 00:31:04.970 It's really a testament to a true innovator, 00:31:05.230 --> 00:31:07.190 someone who confidently draws from all these 00:31:07.190 --> 00:31:09.809 disparate sources to create something uniquely, 00:31:10.089 --> 00:31:12.650 unmistakably his own. He's building his own sound 00:31:12.650 --> 00:31:14.569 language, really, rather than just borrowing 00:31:14.569 --> 00:31:17.170 existing ones. Yeah, absolutely. It's a compelling 00:31:17.170 --> 00:31:19.569 approach. It ensures you can't just passively 00:31:19.569 --> 00:31:22.430 consume it. You have to actively listen. And 00:31:22.430 --> 00:31:25.329 his lyrical approach, his vocal delivery, they're 00:31:25.329 --> 00:31:27.849 equally distinctive. They foster this really 00:31:27.630 --> 00:31:30.130 intimate, almost direct connection with the audience. 00:31:30.589 --> 00:31:33.490 The delivery is key. Elverm's lyrics, they've 00:31:33.490 --> 00:31:36.210 consistently been described using words like 00:31:36.210 --> 00:31:39.190 confessional, often sparse, but also tersely 00:31:39.190 --> 00:31:41.890 poetic, and delivered this conversational style 00:31:41.890 --> 00:31:44.509 that just blurs the lines between speaking and 00:31:44.509 --> 00:31:46.769 singing, that technique often called speaksing. 00:31:47.089 --> 00:31:49.009 Right, it doesn't always follow traditional melody 00:31:49.009 --> 00:31:51.779 lines. Not at all. His storytelling feels very 00:31:51.779 --> 00:31:54.920 free -flowing. It often avoids rigid song structures, 00:31:55.259 --> 00:31:57.680 opting for this more organic, almost stream -of 00:31:57.680 --> 00:31:59.940 -consciousness narrative that feels incredibly 00:31:59.940 --> 00:32:02.119 intimate. Like you're hearing his thoughts directly. 00:32:02.359 --> 00:32:04.759 Exactly. The Believer magazine noted his work 00:32:04.759 --> 00:32:07.720 can be delicately sparse or layered and noisy, 00:32:08.059 --> 00:32:10.920 often in the same song, and added that, lyrically, 00:32:11.180 --> 00:32:13.660 he focuses on memory, first -person storytelling, 00:32:14.319 --> 00:32:17.519 myth, naturalism, the everyday is sacred, and 00:32:17.519 --> 00:32:19.660 sense of place. Wow, that covers a lot of ground. 00:32:19.839 --> 00:32:21.720 The every day is sacred. That feels very key. 00:32:22.000 --> 00:32:24.819 It does. And Slate magazine elaborated on that, 00:32:25.099 --> 00:32:28.099 describing his aesthetic as fairly subdued, yet 00:32:28.099 --> 00:32:30.779 intense and solipsistic, meaning very inward 00:32:30.779 --> 00:32:34.259 looking with a kind of American transcendentalist 00:32:34.259 --> 00:32:38.349 aesthetic. Ah, Emerson, Thoreau, Whitman. that 00:32:38.349 --> 00:32:40.730 whole philosophical movement right emphasizing 00:32:40.730 --> 00:32:43.230 self -reliance the goodness of nature spiritual 00:32:43.230 --> 00:32:46.069 connection outside of organized religion that 00:32:46.069 --> 00:32:48.210 philosophical core is combined with what sleigh 00:32:48.210 --> 00:32:52.029 calls a distinctly pacific northwest naturalist 00:32:52.029 --> 00:32:55.549 mysticism creating this deeply introspective 00:32:55.549 --> 00:32:58.589 yet very geographically rooted lyrical world 00:32:58.809 --> 00:33:01.450 And what's fascinating there is how that lyrical 00:33:01.450 --> 00:33:03.470 approach allows for such an intimate connection, 00:33:03.589 --> 00:33:05.769 that speak and sing style especially, it just 00:33:05.769 --> 00:33:07.869 breaks down the traditional barrier between the 00:33:07.869 --> 00:33:09.670 performer and the audience. Yeah, it feels very 00:33:09.670 --> 00:33:12.210 direct. It makes his deeply personal stories 00:33:12.210 --> 00:33:14.490 feel less like performed songs and more like 00:33:14.490 --> 00:33:16.410 direct communication, as if he's speaking right 00:33:16.410 --> 00:33:18.230 to you. It's a kind of vulnerability that's baked 00:33:18.230 --> 00:33:21.130 right into the delivery itself. And that connection 00:33:21.130 --> 00:33:23.890 to American transcendentalism, it just further 00:33:23.890 --> 00:33:26.890 emphasizes that deep engagement with nature, 00:33:27.450 --> 00:33:30.609 with introspection. and with finding the profound 00:33:30.609 --> 00:33:33.349 and the mundane, those are such hallmarks of 00:33:33.349 --> 00:33:36.470 his work. He's basically inviting you into his 00:33:36.470 --> 00:33:38.650 internal world and the external world as he sees 00:33:38.650 --> 00:33:41.349 it, which is often imbued with this kind of quiet 00:33:41.349 --> 00:33:44.509 spiritual significance. Yeah. This whole discussion 00:33:44.509 --> 00:33:47.029 about his vocal and lyrical styles, it might 00:33:47.029 --> 00:33:49.269 encourage you listening to pay closer attention, 00:33:49.329 --> 00:33:51.809 you know, to how different artists use these 00:33:51.809 --> 00:33:54.640 specific tools. vocal delivery, lyrical focus, 00:33:54.940 --> 00:33:57.619 to convey emotion and meaning, how they can transform 00:33:57.619 --> 00:33:59.859 the everyday into something sacred and deeply 00:33:59.859 --> 00:34:02.039 resonant. It's about how the delivery itself 00:34:02.039 --> 00:34:04.180 becomes part of the message. Definitely. Form 00:34:04.180 --> 00:34:06.380 and content working together. Now, the impact 00:34:06.380 --> 00:34:08.539 and the critical acclaim for Phil Elverm's work, 00:34:08.599 --> 00:34:10.760 both as the microphones and Mount Erie, it's 00:34:10.760 --> 00:34:13.420 considerable. It extends far beyond just some 00:34:13.420 --> 00:34:15.940 niche appeal. He's really been instrumental in 00:34:15.940 --> 00:34:18.139 shaping the landscape of current indie rock. 00:34:18.260 --> 00:34:20.860 Oh, hugely influential. No question. Influencing 00:34:20.860 --> 00:34:24.170 countless artists. countless listeners who gravitate 00:34:24.170 --> 00:34:26.690 toward that unique blend of introspection and 00:34:26.690 --> 00:34:30.329 raw honesty. Rachel Lateman wrote something really 00:34:30.329 --> 00:34:33.750 apt about this. She said, the effectiveness of 00:34:33.750 --> 00:34:36.590 Elvrom's style reminds us about the injury and 00:34:36.590 --> 00:34:39.070 profound misunderstanding incurred when we put 00:34:39.070 --> 00:34:42.030 the form of expression called singing in a box. 00:34:43.010 --> 00:34:45.869 That's powerful. A call to broaden our definition 00:34:45.869 --> 00:34:48.250 of singing. Exactly. Embracing unconventional 00:34:48.250 --> 00:34:51.239 deliveries. But maybe the most telling indicator 00:34:51.239 --> 00:34:53.760 of his unique status comes from Isabel Zacharias, 00:34:54.360 --> 00:34:56.980 who claimed that Elvarum, quote, to a pocket 00:34:56.980 --> 00:34:59.860 of Pacific Northwesterners is more folkloric 00:34:59.860 --> 00:35:02.380 deity than musician. Folkloric deity, there it 00:35:02.380 --> 00:35:04.760 is again. Right. Adding that his releases under 00:35:04.760 --> 00:35:07.639 the microphones propelled him to indie god status. 00:35:08.159 --> 00:35:10.280 That's a powerful testament to his cultural impact, 00:35:10.400 --> 00:35:12.719 isn't it? It really is. And that claim, folkloric 00:35:12.719 --> 00:35:15.460 deity, it really makes you ask, what elevates 00:35:15.460 --> 00:35:17.679 an artist beyond just fandom or critical success? 00:35:18.139 --> 00:35:20.019 It suggests something much deeper is going on 00:35:20.019 --> 00:35:22.039 there. Yeah, what does that even mean? It points 00:35:22.039 --> 00:35:25.280 to this almost spiritual connection, maybe, between 00:35:25.280 --> 00:35:28.889 the artist. their specific local environment, 00:35:29.130 --> 00:35:31.530 like Anacortes itself becomes this character 00:35:31.530 --> 00:35:34.570 in his mythology, right? And their dedicated 00:35:34.570 --> 00:35:36.690 audience. Right. The place is part of the story. 00:35:36.769 --> 00:35:39.690 He's not just making music. He's somehow embodying 00:35:39.690 --> 00:35:42.909 a particular spirit or voice that speaks directly 00:35:42.909 --> 00:35:45.570 to a community's identity, their shared experiences. 00:35:46.170 --> 00:35:48.829 It transcends the usual boundaries of musical 00:35:48.829 --> 00:35:52.449 celebrity. It implies this raw, unvarnished journey 00:35:52.449 --> 00:35:55.369 that his audience feels deeply invested in, making 00:35:55.369 --> 00:35:57.469 him this kind of living legend within his own 00:35:57.469 --> 00:36:00.309 unique sphere. It's a truly unique kind of resonance 00:36:00.309 --> 00:36:02.809 he has. Yeah, that makes sense. And his artistic 00:36:02.809 --> 00:36:04.889 vision, it definitely isn't just confined to 00:36:04.889 --> 00:36:07.329 sound. It's this comprehensive approach that 00:36:07.329 --> 00:36:09.570 pulls in visual arts, other creative projects, 00:36:10.250 --> 00:36:12.170 truly building out that entire world we talked 00:36:12.170 --> 00:36:14.090 about at the start, one tangible piece at a time. 00:36:14.329 --> 00:36:17.449 Exactly. It's all connected. So beyond his groundbreaking 00:36:17.449 --> 00:36:20.050 music, Phil Elveram is also widely known for 00:36:20.050 --> 00:36:22.610 his distinct artwork and photography. And these 00:36:22.610 --> 00:36:24.650 are absolutely integral to his whole vision. 00:36:24.710 --> 00:36:27.469 This isn't just some side hobby. No, it's totally 00:36:27.469 --> 00:36:29.869 woven in, an extension of the core aesthetic. 00:36:30.090 --> 00:36:32.829 Definitely. Early in his career, he was already 00:36:32.829 --> 00:36:35.570 producing these limited run fanzines and song 00:36:35.570 --> 00:36:38.409 booklets, stuff he personally sold on microphones 00:36:38.409 --> 00:36:41.869 tours, creating these tangible, immediate extensions 00:36:41.869 --> 00:36:44.010 of the music right there. Giving fans something 00:36:44.010 --> 00:36:47.289 physical, something connected. Exactly. Then 00:36:47.289 --> 00:36:50.389 once he established P .W. Elveram and Son, LTD, 00:36:50.730 --> 00:36:53.690 he started experimenting even further. He got 00:36:53.690 --> 00:36:56.469 into letterpress printing. Which is a very traditional 00:36:56.469 --> 00:36:59.070 tactile method, creates that beautiful impression 00:36:59.070 --> 00:37:01.530 in the paper. Right, almost sculptural texture. 00:37:02.090 --> 00:37:04.010 And he started doing really elaborate packaging 00:37:04.010 --> 00:37:06.449 ideas for his releases. It meant every album 00:37:06.449 --> 00:37:08.010 wasn't just something you listen to, it was a 00:37:08.010 --> 00:37:10.530 visual and tactile experience too. The object 00:37:10.530 --> 00:37:13.570 itself became part of the art. Totally. In 2007, 00:37:13.789 --> 00:37:16.789 he published Mount Eurydice 6 and 7. It was this 00:37:16.789 --> 00:37:18.929 unique hardcover book of his film photography, 00:37:19.289 --> 00:37:22.119 and it came with a 10 -inch picture disc. fusing 00:37:22.119 --> 00:37:24.760 the visual and the auditory into this single 00:37:24.760 --> 00:37:27.059 compelling object you could hold. That's a perfect 00:37:27.059 --> 00:37:29.900 example of his holistic approach. Yeah. Then 00:37:29.900 --> 00:37:32.719 in 2009, he had his first actual art show called 00:37:32.719 --> 00:37:35.719 In Dreams at a Stumptown coffee in Portland. 00:37:36.300 --> 00:37:38.300 It featured these striking landscape photos he'd 00:37:38.300 --> 00:37:41.320 taken in Norway, France, rural Washington. Using 00:37:41.320 --> 00:37:43.880 antique cameras and expired film, right? Exactly. 00:37:44.300 --> 00:37:47.480 Which gives the images this... timeless, almost 00:37:47.480 --> 00:37:50.860 ethereal quality. It really echoes the themes 00:37:50.860 --> 00:37:53.739 in his music, that sense of atmosphere and decay 00:37:53.739 --> 00:37:56.880 maybe. Medium matches the mood. Precisely. Then 00:37:56.880 --> 00:37:59.619 in 2014, he released Dust, which was a book of 00:37:59.619 --> 00:38:03.219 digital photography bound in stamp linen, showcasing 00:38:03.219 --> 00:38:05.679 his versatility across different photo mediums, 00:38:05.679 --> 00:38:07.440 but still maintaining that distinct aesthetic. 00:38:08.400 --> 00:38:10.760 Still recognizably his vision. And today, he 00:38:10.760 --> 00:38:13.000 continues to sell large -scale photographic prints 00:38:13.000 --> 00:38:16.110 and ink paintings through his online store. And 00:38:16.110 --> 00:38:18.409 in this really powerful testament to how deeply 00:38:18.409 --> 00:38:20.329 intertwined his visual and musical narratives 00:38:20.329 --> 00:38:23.469 are, his album Microphones in 2020. That epic 00:38:23.469 --> 00:38:25.849 single track. Yeah, that huge song. It was accompanied 00:38:25.849 --> 00:38:28.190 by a lyric video made up of over 800 photos from 00:38:28.190 --> 00:38:30.250 his life. Visually demonstrating the narrative 00:38:30.250 --> 00:38:32.650 as the song unfolded over its, what, 45 minutes. 00:38:32.909 --> 00:38:35.250 Yeah, it was incredibly effective. It really 00:38:35.250 --> 00:38:37.610 allowed you to inhabit the world he was creating 00:38:37.610 --> 00:38:40.429 visually and sonically. Exactly. And what's fascinating 00:38:40.429 --> 00:38:43.769 here is just that consistent, unwavering thread 00:38:43.769 --> 00:38:46.650 of visual artistry. It doesn't just compliment 00:38:46.650 --> 00:38:49.869 the music, it deeply enriches it. His deliberate 00:38:49.869 --> 00:38:52.929 choice of things like antique cameras, expired 00:38:52.929 --> 00:38:55.710 film, it aligns perfectly with his preference 00:38:55.710 --> 00:38:58.230 for analog recording. Yeah, it's the same sensibility. 00:38:58.409 --> 00:39:01.550 It's a consistent aesthetic choice, favoring 00:39:01.550 --> 00:39:04.500 these tan... imperfect, maybe more authentic 00:39:04.500 --> 00:39:07.500 mediums that carry a sense of history, a human 00:39:07.500 --> 00:39:10.320 touch. This isn't just a side project. It's an 00:39:10.320 --> 00:39:13.639 organic extension of his core aesthetic, consistently 00:39:13.639 --> 00:39:16.039 capturing that dark presence in nature, not just 00:39:16.039 --> 00:39:19.019 in sound, but in light, shadow, texture. He's 00:39:19.019 --> 00:39:21.239 a true world builder operating across all these 00:39:21.239 --> 00:39:23.590 different mediums. Yeah. And his creative output, 00:39:23.590 --> 00:39:26.489 it really extends far beyond just music and photography. 00:39:27.050 --> 00:39:29.590 It demonstrates this expansive, multidisciplinary 00:39:29.590 --> 00:39:32.150 approach to storytelling. It's almost like he 00:39:32.150 --> 00:39:34.869 sees different mediums as just different chapters 00:39:34.869 --> 00:39:37.630 in this ongoing narrative he's telling. Different 00:39:37.630 --> 00:39:40.789 tools for the same core ideas. So back in 2001, 00:39:40.889 --> 00:39:43.289 while he was on tour, Elveram actually wrote 00:39:43.289 --> 00:39:47.090 a paper opera. A paper opera? What is that? Apparently, 00:39:47.150 --> 00:39:50.050 it was a play written for a magazine meant to 00:39:50.050 --> 00:39:53.030 be read. not performed, and it's centered around 00:39:53.030 --> 00:39:55.630 the theme of death. Wow, okay, that's fascinating. 00:39:55.929 --> 00:39:57.449 It shows his textual and narrative interests 00:39:57.449 --> 00:40:00.329 early on. Totally. Then in 2005, he created a 00:40:00.329 --> 00:40:04.070 365 -day comic calendar called Fancy People Adventures, 00:40:04.769 --> 00:40:06.789 which later got syndicated by the music website 00:40:06.789 --> 00:40:09.590 Tiny Mixtapes, just showcasing his ability to 00:40:09.590 --> 00:40:12.289 craft these whimsical narratives in completely 00:40:12.289 --> 00:40:15.190 different formats. A comic calendar. Very different 00:40:15.190 --> 00:40:18.369 vibe. Right. In 2017, after finishing his eighth 00:40:18.369 --> 00:40:20.989 Mount Erie album, he did another unique project, 00:40:21.449 --> 00:40:23.789 a book entirely about Anacortes, Washington, 00:40:24.130 --> 00:40:26.130 delving even deeper into that profound sense 00:40:26.130 --> 00:40:28.489 of place and how it influenced his art. Really 00:40:28.489 --> 00:40:30.570 mapping his territory, literally. Seems like 00:40:30.570 --> 00:40:32.949 it. He also produced background visuals for his 00:40:32.949 --> 00:40:35.289 live shows, released as a limited DVD called 00:40:35.289 --> 00:40:38.250 Fog Movies, and created promotional videos for 00:40:38.250 --> 00:40:40.510 several Mount Erie songs, adding yet another 00:40:40.510 --> 00:40:42.849 layer to his immersive performances. Right, controlling 00:40:42.849 --> 00:40:46.050 the visual aspect live too. And tragically, in 00:40:46.050 --> 00:40:48.909 2020, it was reported he was actively working 00:40:48.909 --> 00:40:52.210 on an art book of Genevieve Castray's unpublished 00:40:52.210 --> 00:40:55.820 work. continuing to honor her artistic legacy, 00:40:56.219 --> 00:40:58.300 ensuring her creativity saw the light of day. 00:40:58.460 --> 00:41:00.940 That's incredibly important work, a continuation 00:41:00.940 --> 00:41:03.840 of their connection. Yeah. The paper opera and 00:41:03.840 --> 00:41:06.320 the comic calendar, they particularly highlight 00:41:06.320 --> 00:41:09.360 just how varied his creative outlets are. His 00:41:09.360 --> 00:41:11.539 innate drive for narrative exploration beyond 00:41:11.539 --> 00:41:14.579 traditional song structures. It proves he's really 00:41:14.579 --> 00:41:17.300 a storyteller, first and foremost, using whatever 00:41:17.300 --> 00:41:19.829 medium fits. And if you connect all this to the 00:41:19.829 --> 00:41:22.949 bigger picture, Elvarum's multidisciplinary output 00:41:22.949 --> 00:41:25.610 powerfully reinforces that holistic approach 00:41:25.610 --> 00:41:27.570 we keep talking about. He doesn't just make music. 00:41:27.650 --> 00:41:31.190 He meticulously constructs entire aesthetic ecosystems. 00:41:31.289 --> 00:41:33.429 Yeah, ecosystem's the right word. Constantly 00:41:33.429 --> 00:41:35.349 experimenting with different forms, different 00:41:35.349 --> 00:41:38.150 mediums to express his overarching artistic concerns, 00:41:38.269 --> 00:41:40.929 his philosophical questions. This continuous 00:41:40.929 --> 00:41:43.110 experimentation, this refusal to be boxed into 00:41:43.110 --> 00:41:45.789 just one medium, it speaks volumes about his 00:41:45.789 --> 00:41:48.719 artistic restlessness. Never stand. Still. Never. 00:41:49.079 --> 00:41:51.840 And his ambition, apparently, to eventually make 00:41:51.840 --> 00:41:55.239 movies, viewing them as the ultimate art form 00:41:55.239 --> 00:41:58.179 and the potential culmination of his creativity. 00:41:58.880 --> 00:42:01.539 That says so much about his expansive, almost 00:42:01.539 --> 00:42:04.280 limitless artistic vision. It shows he sees all 00:42:04.280 --> 00:42:06.440 these different forms as interconnected vessels 00:42:06.440 --> 00:42:10.320 for this singular artistic pursuit, this grand 00:42:10.320 --> 00:42:12.719 narrative he's constantly building and refining. 00:42:12.960 --> 00:42:15.599 Yeah, it really showcases the power of an artist 00:42:15.599 --> 00:42:18.599 using such diverse mediums to tell a complete 00:42:18.599 --> 00:42:21.829 story. immersive story. And I might inspire you 00:42:21.829 --> 00:42:23.769 listening to consider how different forms of 00:42:23.769 --> 00:42:26.170 expression can complement and elevate each other 00:42:26.170 --> 00:42:28.570 in your own creative work, you know, telling 00:42:28.570 --> 00:42:31.230 your story in richer, more layered ways. Thinking 00:42:31.230 --> 00:42:34.010 beyond category. So what about the future for 00:42:34.010 --> 00:42:36.250 Elvarum? These recent details we have, they offer 00:42:36.250 --> 00:42:38.849 this poignant and deeply personal update to his 00:42:38.849 --> 00:42:41.409 ongoing story, showing both continuity and new 00:42:41.409 --> 00:42:44.130 beginnings. Right. In 2020, Elvrom, we help from 00:42:44.130 --> 00:42:46.110 his brother, was apparently engaged in this highly 00:42:46.110 --> 00:42:47.889 symbolic act of building a house off the coast 00:42:47.889 --> 00:42:50.469 of Anacortes. Okay. Building something tangible. 00:42:50.650 --> 00:42:52.809 Yeah. And significantly, it was a project he 00:42:52.809 --> 00:42:54.550 had previously intended to build with Genevieve. 00:42:55.070 --> 00:42:57.429 Wow. Okay, that detail speaks volumes, doesn't 00:42:57.429 --> 00:43:00.909 it? About continuity, memory, the human act of 00:43:00.909 --> 00:43:03.289 rebuilding even amidst loss. It really does. 00:43:03.650 --> 00:43:07.099 And then... More recently, in August 2025, he 00:43:07.099 --> 00:43:08.980 announced that he and his partner, Indigo Free, 00:43:09.159 --> 00:43:11.860 were expecting a baby. Ah, that's wonderful news. 00:43:12.000 --> 00:43:15.000 A powerful and hopeful note. Isn't it? Yeah, 00:43:15.179 --> 00:43:18.219 these details truly offer a very poignant, deeply 00:43:18.219 --> 00:43:21.039 personal update to Phil Elvarum's life. They 00:43:21.039 --> 00:43:23.219 reflect both that profound sense of continuity 00:43:23.219 --> 00:43:25.340 symbolized by building the house originally planned 00:43:25.340 --> 00:43:28.079 with Genevieve and the exciting, life -affirming 00:43:28.079 --> 00:43:30.480 prospect of new beginnings with anticipating 00:43:30.480 --> 00:43:32.960 a child with Indigo Free. A new chapter, for 00:43:32.960 --> 00:43:35.880 sure. It implies the significant journey of rebuilding, 00:43:35.980 --> 00:43:38.719 healing, and profound new growth. And given his 00:43:38.719 --> 00:43:40.840 intensely personal approach to art, where life 00:43:40.840 --> 00:43:43.780 and creation are just so intertwined, these monumental 00:43:43.780 --> 00:43:46.139 shifts will undoubtedly continue to profoundly 00:43:46.139 --> 00:43:48.179 influence his future creative work. You'd have 00:43:48.179 --> 00:43:51.000 to assume so. His art and life remain inextricably 00:43:51.000 --> 00:43:53.400 linked, always moving forward, always reflecting 00:43:53.400 --> 00:43:56.860 the deepest human experiences, joy, loss, change, 00:43:57.119 --> 00:43:59.219 continuity, all of it. Hack, tack, tack, tack, 00:43:59.280 --> 00:44:01.619 outro. OK, so let's try and wrap this up. what 00:44:01.619 --> 00:44:04.579 we've talked about. We've journeyed through this 00:44:04.579 --> 00:44:07.099 singular, deeply personal world of Phil Elvarum. 00:44:07.320 --> 00:44:10.659 It's quite a world. It really is. From his Anacortes 00:44:10.659 --> 00:44:13.000 roots, that deep community immersion in Olympia, 00:44:13.360 --> 00:44:16.380 to his prolific, genre -defying music under both 00:44:16.380 --> 00:44:18.539 the microphones and Mount Erie. Mm -hmm. Covering 00:44:18.539 --> 00:44:21.420 a lot of ground. We've seen how his unwavering 00:44:21.420 --> 00:44:24.670 commitment to that... holistic analog process, 00:44:25.449 --> 00:44:28.329 his deeply personal yet universally resonant 00:44:28.329 --> 00:44:31.710 themes, and his diverse artistic expressions 00:44:31.710 --> 00:44:33.949 spanning music, photography, writing, printing, 00:44:34.349 --> 00:44:37.070 how they've all collectively carved out this 00:44:37.070 --> 00:44:39.690 truly unique and influential space in independent 00:44:39.690 --> 00:44:42.309 culture. And what's truly compelling here, I 00:44:42.309 --> 00:44:44.969 think, is how Elverm's life and art are just 00:44:44.969 --> 00:44:47.989 so profoundly intertwined. They offer this powerful, 00:44:48.210 --> 00:44:51.250 undeniable testament to the idea that true artistic 00:44:51.250 --> 00:44:53.909 integrity often stems directly from authentic 00:44:53.909 --> 00:44:55.849 personal experience. Yeah, you can't fake that 00:44:55.849 --> 00:44:58.949 level of depth. No. He's a relentless, almost 00:44:58.949 --> 00:45:02.210 spiritual pursuit of a coherent artistic vision, 00:45:02.670 --> 00:45:05.329 even through profound loss and now new beginnings. 00:45:06.469 --> 00:45:09.190 It kind of makes us ask, doesn't it? How does 00:45:09.190 --> 00:45:12.150 the art you engage with truly reflect the deeply 00:45:12.150 --> 00:45:14.769 human stories behind its creation? That's a good 00:45:14.769 --> 00:45:17.210 question. And how does recognizing that intrinsic 00:45:17.210 --> 00:45:20.409 connection, that human story, deepen your appreciation 00:45:20.409 --> 00:45:23.320 for it? What kind of personal courage does it 00:45:23.320 --> 00:45:25.460 take for an artist to lay their soul bare like 00:45:25.460 --> 00:45:27.719 he often does? Yeah, it definitely makes you 00:45:27.719 --> 00:45:29.739 think differently about the art you consume. 00:45:30.800 --> 00:45:32.960 So we hope this deep dive maybe sparks some new 00:45:32.960 --> 00:45:35.639 thoughts for you listening. Perhaps it's an invitation 00:45:35.639 --> 00:45:37.780 to seek out art that speaks to you on an even 00:45:37.780 --> 00:45:40.400 deeper level than just the surface, to appreciate 00:45:40.400 --> 00:45:42.800 the meticulous craftsmanship behind every piece, 00:45:43.119 --> 00:45:44.960 whether it's music or visual art or anything 00:45:44.960 --> 00:45:47.179 else, and to recognize that some of the most 00:45:47.179 --> 00:45:49.679 profound and lasting art is born from the most 00:45:49.679 --> 00:45:51.900 personal and and often the most challenging journeys, 00:45:52.519 --> 00:45:53.380 keep diving deep.