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Mount Eerie

Rate It! Avg: 4.0 (163 ratings)
Mount Eerie album cover
The Sun
Solar System
Mt. Eerie
Universe (2)
Album Information

Total Tracks: 5   Total Length: 40:51

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Wondering Sound

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Amanda Petrusich


Amanda Petrusich is the author of the forthcoming DO NOT SELL AT ANY PRICE (Scribner), a book about collectors of rare 78 rpm records (if you’ve got a basement...more »

The Microphones, Mount Eerie
Label: K Records / SC Distribution

Despite opening with the same heart-thuds and shuddering bell-blows that closed its predecessor, The Glow Pt. 2, Mount Erie marks a significant stylistic break for lone Microphone Phil Elvrum: abstract and epic, Mount Erie eschews typical doe-eyed indie introspection to tackle larger notions of life, death and existential purpose.

A bizarre concept album in five sprawling parts, Mount Erie traces the path of a narrator (Elvrum) driven by his overwhelming fear of death to scale a… read more »

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Worth it


Re-reading all the user reviews, I don't know that there is much to say. It's a beautiful slow burner that demands repeated listening but pays off remarkably

user avatar

Nonsensical pricing


Under the new plan: eMusic, 5 Tracks for 12 credits, Track 1 is album only, Total cost: $5.40. Amazon MP3, 5 Tracks for 99 cents each, Total cost: $4.95. Buy track 1 from Amazon and tracks 4-5 from eMusic, Total cost: $2.80

user avatar

Life inspiring and grossly underrated


Ya, this album changed my life. I have studied new music, classical music, avant-guard, noise, and the likes and when I heard this album at the age 33, many things changed in my life. It is not an album to listen to as separate tracks (not many microphones/mount eerie records are), but it needs to be listen to as you would a symphony. Top 5 records of all time in my collection. Beautiful and terrifying.

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Small Epic


If you have been held hostage by Phil Elvrum's The Glow Pt. 2, then you may be happy to know that you can continue your Stockholm Syndrome with Mount Eerie. (If you haven't gotten The Glow Pt. 2... do it now!) The haunting and beautiful presence is still there. The most notable difference is the 17-minute opening track which finds you clinging to a train as it barrels through mountain tunnels - it's quite a trip. If anything, the opener leaves you that much more wide-eyed when the first real verse hits. The casually strummed guitar pattern will sound lovingly familiar. It's a different kind of "epic" than The Glow Pt. 2: universal (as the track titles suggest) rather than sprawling and personal. It's a beautiful album, and commendably poignant for a format that is inherently smaller and less affecting than its larger counterpart, the LP.

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As Open As Space


The few songs that are here make an expansive and challenging collection. The concept is ambitious but very insular. The charm of "Mt. Eerie" is that neither of those traits tends to become intimidating throughout it's course. Those expecting the lush generous melodies of "The Glow Pt.2" may be in for a bit of a letdown. These songs are spacious but sparse. They rely heavier on texture than full on structure. There are however a few stunning moments though....like "Universe" the album's last track..

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I've been asleep for years to wake up with this.


I don't know why Radiohead's Kid A was spinning around for thousands of hours while this album was collecting electronic dust on emusic. I'm so in awe of this work that I don't want to fail it with a list of platitudes or base descriptions of what it sounds like to me. But, do you know how some albums trascend sound to become distinct places? This album exists as a unique world, haunting and gorgeous, challenging, rewarding, amazing. Amazing. Incredibly beautiful landscapes all in about 40 minutes, the sound an equal amount of night before us as well as behind. Gorgeous, gorgeous, gorgeous.

They Say All Music Guide

The Microphones’ most demanding album, Mount Eerie, isn’t exactly the follow-up to The Glow, Pt. 2 that one might expect. Instead of offering more expansive, kaleidoscopic pop, Phil Elvrum presents a concept album about life, death, and identity that spans five epic songs. Microphones fans are used to Elvrum’s artistic twists, but this album is a hairpin turn, moving into much more abstract territory than any of his previous work. The 17-minute opening track “The Sun” ( “In which the story begins, where you are born and run away from death up the mountain in fear and are watched by a ball of fire,” the liner notes explain) is a perfect example. It begins with heartbeats and the heavy, tolling bells that closed The Glow, Pt. 2, and moves to layered, galloping drums and horns that sound like a race or a hunting party, which are silenced abruptly by a ghostly choir, a hesitant guitar, and Elvrum’s desolate, vulnerable vocals before an explosion of distortion finishes the track. It’s a hypnotic, portentous beginning, introducing the suspense and search for spirituality that dominate Mount Eerie. The album is concerned with death in all of its forms — the end of a day, of a life — not in a morbid way, but as a necessary transition or as the answer to a question (which, of course, only provokes more questions). When death finally comes on the title track, in the form of Little Wings’ Kyle Field, it’s as funny as it is unsettling: “I’ll press you to the ground / You’ll fade from where you’re found.” Likewise, the accompanying vultures — voiced by Karl Blau — are so cartoonishly morose that they add little more than (admittedly dark) humor to leaven the atmosphere. Vocal cameos by friends and collaborators such as Mirah, Khaela Maricich, Dennis Driscoll, Adam Forkner, and Calvin Johnson (wittily cast as the voice of the Universe) make Mount Eerie feel more like a school pageant than a concept album; this childlike wonder gives the album’s sense of discovery even more impact and poignancy. “Childlike” doesn’t equal simplistic, however — Mount Eerie is musically and lyrically complex within its naive viewpoint. The album’s quietest and loudest moments feature subtle shifts that add to its surreal soundscapes; for example, the gusts of static that buffet the album recall not only hissing wind, but rain, snakes, and insects as well. This stream-of-consciousness approach extends to the album’s songwriting as well, particularly on “Solar System,” where the setting sun reminds Elvrum of a faraway girl juggling a soccer ball like a planet. Even more personal and overflowing with detail than the Microphones’ other work, Mount Eerie is a truly stunning album, managing to be deeply beautiful and unnerving, as well as deeply thoughtful, without ever seeming pretentious or heavy-handed. While The Glow, Pt. 2 might still be the most perfect distillation of Elvrum’s style to date, at the very least Mount Eerie proves that his ambitions and his ability to express them are growing at an exciting rate. – Heather Phares

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