Phil Elverum Interview
Q: You have been recording music since the mid 90’s and I remember reading that you record to tape. (It also states this on your wikipedia page) Have you come to embrace any digital technology whether it be for recording or software which you have started using in recent years? If so, what?
A: I use a computer all the time, every day. Mostly for graphic stuff (artwork, websites, etc.). I have recorded some quick demo ideas on Garageband but I still prefer the pace and ritual of deliberate tape recording. I also feel messed up physically after too much screen time so I don't feel compelled to go deeper into the computer recording world. I know it will become necessary someday when tape is 100% unavailable and all the machines are broken, but for now I can still do it in the nicer old fashioned way that I prefer.
Q: I also remember reading that you use a number of unconventional methods when recording. Are there any particular things you do which have become a staple to your sound?
A: I frequently double or quadruple tracks. Most things have at least 2 of them happening, usually panned. That makes things dimensional and wild in a way I like. It's not that unusual though.
Q: Your albums especially your work with microphones often has a lo-fi aesthetic that sounds perfectly at home with the type of music you are playing. For instance, the acoustic guitars wouldn't sound right if they were more polished. How much of your sound is conceptualized before you record opposed to how much is sculpted during post-production?
A: It all is being invented as it's being recorded. I have vague ideas and feelings I'm aiming for but it all gets figured out via the actual act of recording alone, trying things out and fiddling around and making mistakes. I just listen and keep working until it feels right. Sorry the answer is not more revealing or charismatic. It's just functional; I use my ears to find the right feeling.
Q: Can you talk a little bit about how the songwriting process works for you these days compared to 10 years ago?
A: Not really. It is very much a matter of spacing out and chasing down an elusive idea/feeling. I don't have a regular process. I have nuggets of idea that I go deeper into and they reveal more paths.
Q: On one of your latest albums entitled “Ocean Roar” it starts with a sonic onslaught of guitars. Can you tell us a little bit about how you were able to achieve that sound?
A: You are talking about the song Pale Lights I guess. I recorded the basic tracks of that with a few friends live. I played drums and had the friends play guitars and we taped down some keys on organs in the room. I wanted to see how long we could play the same chord. The sound was created by having us all play loud in a big room and not trying to isolate anything. It all just bleeds in the naturally beautiful sounding large room.
Q: Can you tell us about any interesting experiences you had playing live?
A: The other day we played at a huge festival, Primavera, in Barcelona. It was a ridiculous joke. We were on a huge stage and super loud, and the huge neighboring stage was drowning us out with their sound. Every element of the experience was so deeply alienating, such an immense barrier to having any kind of music-related feeling for the performer or the audience. I hate huge music festivals. Plus, huge corporate sponsor ads everywhere and beer and garbage. Who would like that? It is the worst.
Q: Did you watch the Billboard music awards last night? What’s your opinion on shows like these which seem to have everyone lip-syncing and are insanely over-produced?
A: No I didn't. I don't know what it is and have no opinion, but from your description it sounds unappealing to me.
Q: Do you follow a lot of new music that is being released these days? What have you been listening to these days for enjoyment?
A: I don't follow any new music and have been feeling increasingly old and disconnected. There I said it. On tour in the van we tried to keep my iPod on shuffle for as long as possible. We lasted a couple weeks, and like 1300 songs. It is all over the map. When I am home I mostly don't listen to anything. My brain is occupied with tasks or reading.
Q: Have you seen any good live shows lately?
A: In Glasgow we played with a band called The Crying Lion. They were an acapella singing group singing songs that seemed to be traditional Scottish songs but were actually freshly written beautiful new things. It was so good and the singing was so beautiful.
Q: What else can we expect from you in the next year?
A: I am finishing up this series of reissues of the 5 Microphones records on my own label, P.W. Elverum & Sun. After that I'll start recording again, new stuff. I have no idea what it will be and I plan to give myself plenty of open time/space to explore.
Q: You have been recording music since the mid 90’s and I remember reading that you record to tape. (It also states this on your wikipedia page) Have you come to embrace any digital technology whether it be for recording or software which you have started using in recent years? If so, what?
A: I use a computer all the time, every day. Mostly for graphic stuff (artwork, websites, etc.). I have recorded some quick demo ideas on Garageband but I still prefer the pace and ritual of deliberate tape recording. I also feel messed up physically after too much screen time so I don't feel compelled to go deeper into the computer recording world. I know it will become necessary someday when tape is 100% unavailable and all the machines are broken, but for now I can still do it in the nicer old fashioned way that I prefer.
Q: I also remember reading that you use a number of unconventional methods when recording. Are there any particular things you do which have become a staple to your sound?
A: I frequently double or quadruple tracks. Most things have at least 2 of them happening, usually panned. That makes things dimensional and wild in a way I like. It's not that unusual though.
Q: Your albums especially your work with microphones often has a lo-fi aesthetic that sounds perfectly at home with the type of music you are playing. For instance, the acoustic guitars wouldn't sound right if they were more polished. How much of your sound is conceptualized before you record opposed to how much is sculpted during post-production?
A: It all is being invented as it's being recorded. I have vague ideas and feelings I'm aiming for but it all gets figured out via the actual act of recording alone, trying things out and fiddling around and making mistakes. I just listen and keep working until it feels right. Sorry the answer is not more revealing or charismatic. It's just functional; I use my ears to find the right feeling.
Q: Can you talk a little bit about how the songwriting process works for you these days compared to 10 years ago?
A: Not really. It is very much a matter of spacing out and chasing down an elusive idea/feeling. I don't have a regular process. I have nuggets of idea that I go deeper into and they reveal more paths.
Q: On one of your latest albums entitled “Ocean Roar” it starts with a sonic onslaught of guitars. Can you tell us a little bit about how you were able to achieve that sound?
A: You are talking about the song Pale Lights I guess. I recorded the basic tracks of that with a few friends live. I played drums and had the friends play guitars and we taped down some keys on organs in the room. I wanted to see how long we could play the same chord. The sound was created by having us all play loud in a big room and not trying to isolate anything. It all just bleeds in the naturally beautiful sounding large room.
Q: Can you tell us about any interesting experiences you had playing live?
A: The other day we played at a huge festival, Primavera, in Barcelona. It was a ridiculous joke. We were on a huge stage and super loud, and the huge neighboring stage was drowning us out with their sound. Every element of the experience was so deeply alienating, such an immense barrier to having any kind of music-related feeling for the performer or the audience. I hate huge music festivals. Plus, huge corporate sponsor ads everywhere and beer and garbage. Who would like that? It is the worst.
Q: Did you watch the Billboard music awards last night? What’s your opinion on shows like these which seem to have everyone lip-syncing and are insanely over-produced?
A: No I didn't. I don't know what it is and have no opinion, but from your description it sounds unappealing to me.
Q: Do you follow a lot of new music that is being released these days? What have you been listening to these days for enjoyment?
A: I don't follow any new music and have been feeling increasingly old and disconnected. There I said it. On tour in the van we tried to keep my iPod on shuffle for as long as possible. We lasted a couple weeks, and like 1300 songs. It is all over the map. When I am home I mostly don't listen to anything. My brain is occupied with tasks or reading.
Q: Have you seen any good live shows lately?
A: In Glasgow we played with a band called The Crying Lion. They were an acapella singing group singing songs that seemed to be traditional Scottish songs but were actually freshly written beautiful new things. It was so good and the singing was so beautiful.
Q: What else can we expect from you in the next year?
A: I am finishing up this series of reissues of the 5 Microphones records on my own label, P.W. Elverum & Sun. After that I'll start recording again, new stuff. I have no idea what it will be and I plan to give myself plenty of open time/space to explore.