Phillip "Phil" Elverum is an American songwriter and visual artist, best known for his musical projects The Microphones and Mount Eerie. Based in Anacortes, Washington in the mid-2000s, he began to spell his surname Elvrum as "Elverum", after the Norwegian town of the same name. Elverum is best known for having recorded and performed prolifically under the band names The Microphones and Mount Eerie; the Believer Magazine described his work as "delicately sparse or layered and noisy in the same song. Lyrically, he focuses on memory, first-person storytelling, naturalism, the everyday as sacred, sense of place". Elverum uses analog recording equipment and works in his own studio spaces, where he has the time and freedom to experiment with sounds, he records at a disused church in Anacortes, WA called "The Unknown". In 2004, Elverum established the label P. W. Elverum & Sun, Ltd. through which he has released records by Mount Eerie and The Microphones, as well as The Spectacle, Woelv, Nicholas Krgovich, Key Losers and Wyrd Visions.
Prior to this, he was linked to K Records and the Olympia, Washington music scene, where he produced recordings by Mirah, Little Wings, Beat Happening, The Blow, others. Elverum is an occasional member of the Anacortes band D+ with Karl Blau and Bret Lunsford, his musical influences include Eric's Trip, Will Oldham, Björk, Popol Vuh, Sunn O))), Angelo Badalamenti. Elverum is known for his artwork and photography. Early in his career he produced limited-run fanzines and song booklets which would be sold during Microphones tours. Since establishing P. W. Elverum & Sun, Ltd. he began to experiment with letterpress printing and other elaborate packaging ideas for his releases. In 2007, he published a hardcover book of film photography with a picture disc EP titled Mount Eerie pts. 6 & 7. This was followed in 2014 by a book of digital photography bound in stamped linen. In 2005, Elverum created a 365-day comic calendar titled Fancy People Adventures, syndicated by music website Tiny Mix Tapes. In late 2008 Buenaventura Press published Dawn, a book and CD of journal entries and songs from winter 2002/03, during which Elverum lived in a remote cabin in Finnkonevika, Kjerringøy, Norway.
Elverum has experimented with filmmaking, producing background visuals for his shows and directing a promotional video for the 2012 Mount Eerie song'The Place Lives'. Elverum was born on May 1978 in Anacortes, Washington. Elverum married Canadian artist and musician Geneviève Castrée in 2003 shortly after meeting her; the two dated long-distance before Geneviève moved to Washington to live with Phil. She recorded under the names Ô Paon. Besides singing on each other's records and playing in one another's backing bands live, the couple did not collaborate artistically; the two did not want either of their artistic outputs to interfere with the other's so they kept quiet about their marriage. One would mention that he or she was married, but not say who they were married to. In 2015, Geneviève was diagnosed with inoperable pancreatic cancer following the birth of the couple's first child. After running out of funds to pay for Geneviève's cancer treatments the two turned to the world and asked for their support through way of a GoFundMe page.
On July 9, 2016, Geneviève died in the company of her husband and parents. The couple had a daughter, it was reported by Vanity Fair magazine on July 26, 2018 that Elverum married actress Michelle Williams earlier in the month in "a secret ceremony in the Adirondacks, witnessed by only a handful of friends and their two daughters." P. W. Elverum & Sun, Ltd. Fancy People Adventures K Records
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
Mirah is an American musician and songwriter based in Brooklyn, New York. After getting her start in the music scene of Olympia, Washington in the late 1990s, she released a number of well-received solo albums on K Records, including You Think It's Like This but Really It's Like This and Advisory Committee, her 2009 album spera peaked on the Billboard Top Heatseekers chart at #46, while her 2011 collaborative album Thao + Mirah peaked at #7. She has released eleven full-length solo and collaborative recordings, numerous EP's and 7" vinyl records, has contributed tracks to a wide variety of compilations. Mirah has collaborated with artists such as Phil Elvrum of The Microphones, Tune-Yards, Susie Ibarra, Jherek Bischoff and Thao Nguyen, her newest release, Sundial EP, was released on October 6, 2017 on her imprint Absolute Magnitude Records. Her style encompasses indie pop and experimental pop. According to The Rumpus in 2011, "Mirah's early records...are DIY mini-masterpieces that express a punk sensibility through broken drum machines, reverb-drenched guitars and ukulele.
Her more recent albums...are mature and immaculately-produced." Mirah Yom Tov Zeitlyn was born on September 17, 1974, in Philadelphia, the youngest of three children. Her mother is a painter and massage therapist and together with her father ran a small natural foods bakery throughout Mirah's childhood and adolescence, her father worked delivering Rolling Stone magazine for several years in the late 1970s. Her parents raised the family on macrobiotic foods, her father was an avid music lover with a large record collection and Mirah developed an early interest in music. As a child, she listened to Motown, 1960s R&B, soul music, folk music. Mirah's family moved a number of times between 1974 and 1979, including a stint on a hippie commune near Spencer, West Virginia and several years in a rural Pennsylvania farmhouse adjacent to the farm owned by her extended family; the family moved to Bala Cynwyd, a suburb of Philadelphia, in 1979. Her mother's family identifies as her father is Jewish. Mirah identifies as Jewish.
Mirah took part in a number of anti-nuclear walks during her middle school and high school years, including a 6-week stretch of the 9-month cross country Great Peace March for Global Nuclear Disarmament in 1986 when she was 12. In middle school she developed a love of 1980s pop music and female artists such as Sinead O'Connor and Cyndi Lauper. By the time she got to college, her music collection had expanded to include a diverse range of artists. After graduating high school early at 16, Mirah spent a year traveling before moving to Olympia, Washington in 1992 to attend the Evergreen State College, she taught herself wrote her first song as an assignment for class. While in college she worked at a collectively run vegetarian campus café with Kimya Dawson, who became her label-mate at K Records, she was a member of the short-lived all-female Olympia band The Drivers with Molly Burgdorf and Sarah Reed. For a short stint she sang with a swing band and contributed vocals to an early incarnation of Old Time Relijun.
She was the drummer for The Chosen, a Jewish heavy metal duo. In 1996 she began developing her own musical style, composing lo-fi indie pop with vocals and acoustic guitar, her early style drew comparisons to Liz Phair, she soon began performing around Olympia under the one-name moniker Mirah. Mirah was involved with a number of "secret cafes" in Olympia, including The Red Horse Cafe which she and her roommate Ariana Jacob ran out of their one bedroom apartment; the Red Horse Cafe served a different menu every Sunday for a year and a half in 1998/1999. The Red Horse Cafe appears in the documentary short 9 Weeks, she was involved with several large scale theatrical productions including The Transfused, a 2000 rock opera written by Nomy Lamm and The Need. Though surrounded by the local riot grrrl movement of the 1990s, Mirah didn't explicitly associate herself with the genre. After graduating from the Evergreen State College in 1996, she began experimenting on her 4-track recorder with sounds that would be used on her debut album.
Her first EP Storageland was released on Yoyo Recordings in 1997 and received a positive review in Allmusic. The 6 song one sided 12". According to Laura Leebove in Venus Zine, listeners were "drawn to the unpolished sound...with its sometimes muffled vocals, raw guitars, background-noise cracklings." In 1999 she self-released a second EP titled Parts of Human Desire. The bulk of her first records were recorded at the Dub Narcotic studio space in Olympia Washington. Olympia musician Phil Elvrum soon invited her to contribute guitar and vocals to his psychedelic pop group The Microphones, she performs on many Microphones recordings including Don't Wake Me Up and Window, she toured extensively with The Microphones across the US and Canada. According to The Rumpus, Mirah "was part of the K Records renaissance along with bands like The Microphones, The Blow and Old Time Relijun – all distinct, idiosyncratic groups with Calvin Johnson's influence manifesting in the form of a primitivist or intentionally naïve approach."
You Think It's Like This but Really It's Like This Mirah joined the Olympia-based label K Records in 1999. Her full-length debut and first album on the label, You Think It's Like This but Really It's Like This, was released on June 6, 2000. Produced by Mirah and Phil Elvrum, it scored 4/5 stars from Allmusic, who called it "a masterpiece of lo-fi beauty" and praised "Mirah's wistful voice and in
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
To All We Stretch the Open Arm
To All We Stretch the Open Arm is a collection of political songs by a variety of songwriters, performed by Mirah and the Black Cat Orchestra. It met with mixed review from Pitchfork; the album was produced by Pat Maley and Ed Varga, recorded in early 2003 in Seattle, Washington. Mirah and the orchestra cover songs by artists such as Fausto Amodei, Bob Dylan, Leonard Cohen, Kurt Weill, Bertholt Brecht, Horacio Guarany, Stephen Foster, cover several original songs by Mirah as well, it was released on Yoyo Records in 2004. It met with mixed review from Pitchfork. According to Allmusic, "While the album addresses war and oppression with an appropriately somber tone, To All We Stretch the Open Arm doesn't lose sight of how important passion and wit are to any good protest." "Per I Morti Reggio Emilia" – 2:30 "Monument" – 3:40 "Dear Landlord" – 3:25 "Story of Isaac" – 4:09 "The Light" – 4:10 "What Keeps Mankind Alive?" – 3:15 "How Sweetly Friendship Binds" – 1:47 "Si Me Quieres Escribir" – 2:48 "Si Se Calla el Cantor" – 3:16 "Hard Times" – 4:02 "El Cant Dels Ocells" – 2:58 "Bella Ciao" – 2:01 Mirah - primary artist Black Cat Orchestra - instrumentals Ed Varga - producer Pat Maley - producer MirahMusic.com
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Joyride: Remixes is a double CD, containing remixes of Mirah's material, by K Records artists. Released by K Records on November 21, 2006, it received a 3.5/5 from Tiny Mix Tapes. Released by K Records on November 21, 2006, artists include Guy Sigsworth, Anna Oxygen, Tender Forever, Mount Eerie, Khaela Maricich, Lucky Dragons and Electrosexual; the album was positively received, receiving 3.5 / 5 from 3/5 from Tiny Mix Tapes. Disc 1"The Light" – 1:50 "La Familia" – 2:53 "Monument" – 3:07 "Nobody Has to Stay" – 2:21 "Don’t Die in Me" – 3:47 "Apples in the Trees" – 3:02 "Sweepstakes Prize" – 4:36 "Make It Hot" – 3:15 "Advisory Committee" – 4:32 "Dogs of B. A." – 5:10 "Jerusalem" – 3:08Disc 2"Don’t Die in Me" – 3:20 "The Fruits of Your Garden" – 2:15 "Mt. St. Helens" – 3:45 "Make It Hot" – 2:52 "Pollen" – 3:16 "Cold Cold Water" – 3:09 "Advisory Committee" – 4:56 "La Familia" – 3:29 "We're Both So Sorry" – 3:53 "The Light" – 3:19 "Apples in the Trees" – 3:59 MirahMusic.com