A Crow Looked at Me | ||||
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Studio album by | ||||
Released | March 24, 2017 | |||
Recorded | August 31 – December 6, 2016 | |||
Studio | Home recording, Anacortes, Washington[1] | |||
Genre | ||||
Length | 41:30 | |||
Label | P.W. Elverum & Sun | |||
Producer | Phil Elverum | |||
Mount Eerie chronology | ||||
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Singles from A Crow Looked at Me | ||||
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A Crow Looked at Me is the eighth studio album by Mount Eerie, the solo project of American musician Phil Elverum. The album is a concept album about the death of Elverum's wife, the Canadian cartoonist and musician Geneviève Castrée. The album was written and produced entirely by Elverum, who recorded the album using mostly Castrée's instruments in the room in which she died and features minimal production and sparse instrumentation which was a departure from Elverum's previous work. A Crow Looked at Me was released on March 24, 2017 on Elverum's own label, P.W. Elverum & Sun.
Prior to the release of the album, Elverum released two singles, "Real Death" and "Ravens", released on January 18, 2017, and February 15, 2017, respectively. Both songs deal with Castrée's death and Elverum dealing with the aftermath. Both songs received critical acclaim each earning best new track by Pitchfork with "Real Death" being number three on the "100 Best Songs of 2017" list. A Crow Looked at Me was an immediate and widespread critical success, appearing on numerous best of year lists. In the years following its release, the album has appeared in multiple best of decade lists. Some critics found that due to the nature of the album, reviewing it was difficult and disrespectful.
Background and composition
In 2015, Phil Elverum's wife, Canadian cartoonist and musician Geneviève Castrée, was diagnosed with pancreatic cancer four months after the birth of their first child. Castrée died at their home on July 9, 2016.[2] Taking inspiration from the Gary Snyder poem "Go Now",[3] Elverum realised that he did not have to find any meaning in Castrée's death but could write songs that described the experience.[4] He also found inspiration in the work of Canadian singer-songwriter Julie Doiron, American rock band Sun Kil Moon and Norwegian author Karl Ove Knausgård.[5] Elverum recorded the album from August 31, 2016 to December 6 of the same year at his house in Anacortes, Washington.[6][1] He wrote the songs over a six-week period[7] starting in September 2016.[8] Utilising some notes that he had written during Castrée's illness and treatment,[8] He wrote the lyrics down longhand on her notepaper[9] and recorded the songs in the room where she died using an acoustic guitar, one microphone and a laptop computer[8] alongside some of Castrée's own instruments.[10] Since he had become the primary carer for his daughter, Elverum recorded the songs at night while his daughter was asleep or during times when she was visiting friends.[8] Elverum recorded the songs from August 31, to December 6, 2016.[6] He stated that the songs "poured out quickly in the fall, watching the days grey over and watching the neighbors across the alley tear down and rebuild their house", making and releasing the record in order to "multiply my voice saying that I love her. I want it known."[11] Elverum found recording process as positive, calling it "therapeutic" and saying it felt as if he was "hanging out with her [Castrée]" and feeling by the end as if he had healed.[12][13]
Music and lyrics
The lyrics are delivered in a speak singing style and conversational manner and deal with Castrée's illness and death, and Elverum's ensuing grief, which is the thematic concept of the album.[14][15][16][17] The words take the form of a diary with Elverum intending for each song to reflect a time in his grieving, and include references to specific events and dates throughout. Elverum said that "each song is anchored to a very specific moment". Writer Thomas Britt wrote that this showcases "the way that death hangs over each day that follows".[18][19] Each song refers to Castrée, sometimes directly by name, Elverum frequently uses pronouns such as "our" when referring to Castrée despite her absence, one critic noted that this is because Elverum "struggles to adjust to the undesired change".[9][20] The final song "Crow" is however addressed prominently to their daughter.[21] The lyrics have been described to "combine emotional intimacy and tonal frankness to a degree rarely heard in contemporary music" and as "unspooling pieces of prose"[22][23] The songwriting has been described as "brilliant examples of breaking the fourth wall" and that the term itself does not align with the style of the material claiming it's "too precise", noting the blurred lines "between singing, speaking and raw emotional data dump."[24][21]
Opening track "Real Death" features spoken-word Esque vocals which are "whispered from a void of hurt".[25] The opening lyrics are "death is real" and this theme continues throughout the record, as well as the theme of the album not being an artistic statement, with Phillip Green of Cisternyard Media speculating the reason behinds Elverum's aversion is that to do so "would be taking advantage of Genevieve’s passing".[26][21][20] The song also refers to Elverum opening mail packages addressed to Castrée that were delivered after her death, with one critic saying that the moment "limns the space between the living and the dead"[21] Elverum discusses scattering Castrée's ashes and the house they intended to build on "Seaweed". The song also introduces the theme of Castrée's "Spiritual omnipresence" and Elverum remembering her beyond the physical, choosing to immortalize her as the sunset, instead of as ashes.[26] Writer Molly Beauchemin stated that the song "stands apart for its crushing invocation of nature as a place of solace and refuge– a place to see purpose in the midst of loss"[27] "Ravens" describes Elverum giving away Castrée's clothes.[21] "Ravens" standing apart from the other songs features multiple tempo changes.[a][25] Sam Sodomsky of Pitchfork called the song a "seven-minute exploration of the horrors of this world".[28] The track "Forest Fire" describes Elverum's feelings of death, decay, and absurdity in relation to the world around him. As well as apologizing to Castrée for attempting to move on.[29][30] "Swims" details Elverum's experiences with grief counseling and the sudden death of his counselor in light of Castrée's death. It features minimal guitars, simple piano chords and what has been described as "Elverum's most naked vocal performance".[16]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/Theodor_Kittelsen%2C_Soria_Moria.jpg/260px-Theodor_Kittelsen%2C_Soria_Moria.jpg)
"My Chasm" describe Elverum's difficulty in talking about his loss in public which has been described as "a tribute to their everlasting love".[21][11] "When I Take the Garbage Out At Night" invokes mundane imagery with one writer drawing comparisons to Sun Kil Moon's Benji.[17] "Emptiness pt. 2" deals with the idea of "conceptual emptiness". Thomas Britt of PopMatters wrote that "This self-reflexive commentary reframes even the most powerful pictures of wind-hewn, frosted, blackened solitude in the past Microphones/Mount Eerie songbook as products of comparative comfort; luxuries of imagination".[1][19] Elverum discusses the fading familiar memories of Castrée on the song "Toothbrush/Trash" which has been described as a "horrible realization that time will not relent".[21] Its sudden sound cue of a door closing (which elverum recorded himself) was described by Brian Roesler as "a haunted chamber of memory and connection that now seems more real than ever".[25] The track "Soria Moria" takes its name from a painting of the same name by Theodor Kittelsen, incorporates elements of black metal[26] and details Elverum's relationship with Castrée before her death as well as referencing Elverum's time in a Norwegian cabin, in which he wrote his 2008 album Dawn.[31][16] The final song "Crow" is addressed to his daughter as Elverum ponders all the ways in which Castrée lives on, such as a crow that was following them on a hike in the Pacific Northwest. It's the only song to have references to events beyond Elverum's life, as he describes the world as "Smoldering and fascist", comments which were inspired by the 2016 United States presidential election.[12] The song has been described as an "epilogue of sorts" which "offers a new and hopeful perspective" and as "One of the more poetic tracks on the album"[21][20]
Many of the lyrics feature references to nature[19] with one reviewer noting that "tragedy hasn't stopped [Elverum] from noticing the world; if anything, it seems to have pried his eyes open for good."[32] Musically, the album is reminiscent of his 2008 work Lost Wisdom[1] with the songs featuring sparse instrumentation with acoustic guitar and simple percussion[33][15] which Elverum referred to as "barely music".[32] Elverum wanted to release the album quickly, so he used minimal production.[34]
Release and promotion
The best thing about the past
is that it's over
when you die.
you wake up
from the dream
that's your life.
Then you grow up
and get to be post human
in a past that keeps happening
ahead of you
© Joanne Kyger
Elverum considered not releasing the album at all, or changing his band name entirely but ultimately decided to do neither.[18] He had originally planned for a small scale release of the record on his own website, but as the album took shape he felt that it was good and wanted it to reach a wider audience.[35] Despite this he still found releasing the album and promoting it to be "gross and weird from a lot of perspectives".[18] On January 5, 2017, he announced that he would go on tour, and release a new album.[36] The next day, he played his first concert since September 2014 at a record store in Anacortes, Washington. Elverum, while choosing to perform, also asked fans to stay away as the response was "overwhelming" and the store could only hold 50 people.[37] Elverum performed the show with his eyes closed and left immediately afterwards.[38] The first single from A Crow Looked at Me, "Real Death", was released on P.W. Elverum & Sun, Ltd.'s SoundCloud page on January 18, 2017, to widespread acclaim, netting the "Best New Track" distinction from Pitchfork.[39][40] The second single, "Ravens", was released on February 15, 2017, alongside a music video uploaded to Mount Eerie's official YouTube account, again earning the "Best New Track" distinction from Pitchfork, writing that "Elverum makes no attempts to find metaphor or meaning; when he sees two ravens flying overhead, he knows it's an omen, but he can't say what for."[28][40] The cover of the album features a photograph of the Joanne Kyger[b] poem "Night Palace", which Castrée had pinned above her desk.[42] Elverum had taken the photograph while he was cleaning out her room after she died and realised that the poem encapsulated the theme of the album. Castrée's copy of Hergé's Tintin in Tibet can be seen in the background.[7]
Following the release of the album, Elverum embarked on a North American tour in September 2017, playing solo shows accompanied only by his acoustic guitar in intimate venues that included "concert halls, churches, and theaters".[43] The tour was extended to include Europe in November 2017.[44] While performing at Jacobikerk as part of Le Guess Who? festival in Utrecht, a sound engineer recorded Elverum's set without his knowledge. Elverum liked the recording so much that it was subsequently released as the live album (after) in 2018.[45]
Critical Reception
Aggregate scores | |
---|---|
Source | Rating |
AnyDecentMusic? | 8.8/10[46] |
Metacritic | 93/100[47] |
Review scores | |
Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
The A.V. Club | A−[48] |
Consequence of Sound | A−[10] |
Exclaim! | 9/10[49] |
Mojo | ![]() ![]() ![]() ![]() ![]() |
Paste | 9.2/10[51] |
Pitchfork | 9.0/10[32] |
PopMatters | 10/10[19] |
Uncut | 9/10[52] |
Vice | A[53] |
A Crow Looked at Me received widespread critical acclaim upon release. At Metacritic, which assigns a normalized rating out of 100 to reviews from music critics, the album has received an average score of 93, indicating "universal acclaim", based on 18 reviews.[47] Aggregator AnyDecentMusic? gave A Crow Looked At Me 8.8 out of 10, based on their assessment of the critical consensus.[46] Elverum found this "reaffirming" although was frustrated by those who viewed it as a tribute.[4] Heather Phares from AllMusic called the album "remarkably powerful and pure".[26] Consequence of Sound's David Sackllah said that it was "overwhelming and humbling" and wrote that "A Crow Looked at Me stands as a remarkable example of the restorative power of music, an intimate display of love, daring both in concept and execution."[10] Zack Fenech from Exclaim! said that "this record possesses immense power to make listeners reflect on their own relationships and mortality. A Crow Looked at Me is a grim memento of the grand injustice of losing those most precious to us."[49] Paste's Matt Fink said that it was "beautifully and simply arranged, but it is not an entertaining album to listen to in any conventional sense, nor can it be shaken off easily. It is, however, the kind of album that makes all others seem frivolous" and that "there is no album quite like it."[51]
Ben Malkin from GIGsoup described the album "art in its most pure, human form", a "showcase of weakness and cruel reality, prose of lost love," and "perhaps the saddest album ever made".[54] In his review for Spectrum Culture John Paul said that "Heartbreaking doesn’t even begin to describe A Crow Looked at Me" and described the album as "pure grief delivered in a voice in which you can hear the weight of loss".[17] Sarah Greene, writing for Now Toronto described A Crow Looked At Me as "a lovingly crafted album, with gentle melodies that linger in the air, pretty, memorable guitar lines and a subtle but persistent approach to percussion" and concluded that despite it may being an uncomfortable and harrowing listen it was also a "tribute to an amazing 13-year love story".[1] Brian Roesler, from Treblezine, despite enjoying the record considerably, demanded that readers "Don’t call it art. Don’t call it music even. Call it a documentation of suffering and loss as an experience, and treat it as such".[25][c] In a essay written for The Spinoff, Murdoch Stephens crowned Elverum "the saddest musician in the world", compared A Crow Looked At Me to the poetry of Auschwitz survivor Primo Levi and pondered how the listener should interact with a piece of art of such a visceral nature.[55] Elverum would go on to denounce the title, calling it absurd and that he sought out to inject beauty into the record.[4]
Some reviewers said that it was difficult to review the album. In his positive review for Drowned in Sound, JR Moores did not give the album a score because "even awarding this work the full ten-out-of-ten would feel too callous given the tragic circumstances of the record's gestation and its heartbreaking subject matter."[56] Reviewer Matthew Smith of No Ripcord said that "assigning a score to a project like this is reductive...it's almost insulting to rank something as open and raw as this."[57] PopMatters reviewer Thomas Britt called the album a "masterpiece" but noted that it went beyond "the limits of conventional music criticism."[19] Marvin Lin from Tiny Mix Tapes did score the album but said that his rating meant "absolutely nothing".[9]
Accolades
A Crow Looked at Me appeared on numerous year-end top lists.[58] Such as The Atlantic,[15] Consequence of Sound,[59] Earbuddy,[60] Exclaim!,[61] Paste[62] and Tiny Mix Tapes[63]. The lead single "Real Death" was third on Pitchfork's list of 100 "Best Songs" of 2017.[64] Metacritic, which collates reviews of music albums, named it the second best-reviewed album of 2017[58] and the seventh best reviewed album of decade.[65][d] According to Acclaimed Music, the album is eleventh most critically album of 2017, eightieth of the 2010s and eight hundred twenty-sixth of all time.[66][e] The album is the eleventh highest rated album on AnyDecentMusic?.[68]
Publication | Accolade | Rank |
---|---|---|
The Atlantic | The 10 Best Albums of 2017 | 6[15] |
Clash | Clash Albums Of The Year 2017 | 54[69] |
Consequence of Sound | Top 50 Albums of 2017 | 8[59] |
Earbuddy | Earbuddy’s 100 Best Albums of 2017 | 1[60] |
Exclaim! | Top 10 Folk and Country Albums of 2017 | 2[61] |
Fact | The 50 Best Albums of 2017 | 14[70] |
The Guardian | The Best Albums Of 2017 | 47[71] |
Paste | The 50 Best Albums of 2017 | 9[62] |
Pigeons & Planes | Best Albums of 2017 | 32[72] |
Popmatters | The 60 Best Albums of 2016 | 24[73] |
Pitchfork | The 50 Best Albums of 2017 | 14[74] |
Noisey | The 100 Best Albums of 2017 | 23[75] |
No Ripcord | The Best Albums Of 2017 | 11[76] |
NPR | The 50 Best Albums Of 2017 | 31[77] |
Spectrum Culture | Top 20 Albums of 2017 | 12[78] |
Spin | 50 Best Album of 2016 | 23[79] |
Sputnikmusic | Staff’s Top 50 Albums of 2017 | 14[80] |
Stereogum | The 50 Best Albums of 2017 | 10[81] |
Tiny Mix Tapes | 2017: Favorite 50 Music Releases | 1[63] |
Under the Radar | Under the Radar’s Top 100 Albums of 2017 | 19[82] |
The Village Voice | The Top 100 Albums of 2017 | 15[83] |
Publication | List | Rank | Ref. |
---|---|---|---|
Pitchfork | The 200 Best Albums of the 2010s | 45
|
|
Metacritic | The Best Albums of the Decade (2010–2019) | 7
|
|
Tiny Mix Tapes | 2010s: Favorite 100 Music Releases of the Decade | 22
|
Track listing
All tracks are written and produced by Phil Elverum.[56]
No. | Title | Length |
---|---|---|
1. | "Real Death" | 2:27 |
2. | "Seaweed" | 3:01 |
3. | "Ravens" | 6:39 |
4. | "Forest Fire" | 4:15 |
5. | "Swims" | 4:07 |
6. | "My Chasm" | 2:22 |
7. | "When I Take Out the Garbage at Night" | 2:25 |
8. | "Emptiness pt. 2" | 3:28 |
9. | "Toothbrush/Trash" | 3:52 |
10. | "Soria Moria" | 6:33 |
11. | "Crow" | 2:21 |
Total length: | 41:30 |
Personnel
Credits adapted from the album's liner notes.[86]
- Phil Elverum – songwriting – vocals – production – acoustic guitar – electric guitar – drum machine – bass – piano – accordion
Release history
Region | Label | Format | Category | Reference |
---|---|---|---|---|
United States | P. W. Elverum & Sun, Ltd. | Double LP, Digital Download | ELV040 | [87] |
Japan | P. W. Elverum & Sun, Ltd. | CD | EPCD101 | [87] |
References
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{{cite web}}
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{{cite web}}
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(help) - ^ Britt, Thomas (December 11, 2017). "The 60 Best Albums of 2016". Popmatters. Retrieved April 9, 2020.
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- ^ Robertson, Alex (December 21, 2017). "Staff's Top 50 Albums of 2017: 30 – 11". Sputnikmusic. Retrieved April 9, 2020.
- ^ Stereogum Staff (December 5, 2017). "The 50 Best Albums of 2017". Stereogum. Retrieved December 6, 2017.
- ^ Wyatt, Stephen (December 30, 2017). "Under the Radar's Top 100 Albums of 2017". Under the Radar. Retrieved April 9, 2020.
- ^ The Editors (January 22, 2018). "Pazz & Jop: It's Kendrick's and Cardi's World. We're All Just Living in It". The Village Voice. Retrieved April 8, 2020.
{{cite web}}
:|last1=
has generic name (help) - ^ "The 200 Best Albums of the 2010s". Pitchfork. October 8, 2019. Retrieved October 24, 2019.
- ^ TMT Staff (December 19, 2019). "2010s: Favorite 100 Music Releases of the Decade". Tiny Mix Tapes. Retrieved April 7, 2020.
- ^ A Crow Looked at Me (Media notes). Phil Elverum. P. W. Elverum & Sun, Ltd. 2017.
{{cite AV media notes}}
: CS1 maint: others in cite AV media (notes) (link) - ^ a b "A Crow Looked At Me by Mount Eerie". P.W. Elverum And Sun. Retrieved October 27, 2019.
Notes
- ^ "Soria Moria" also features tempo changes.[25]
- ^ Kyger would die of lung cancer two days before the album's release.[41]
- ^ A sentiment echoed by Elverum himself.[32]
- ^ Its appearance on the list made it the highest rated folk album of the decade.[65]
- ^ The tenth highest ranking for an Indie Folk album.[67]
External links
- A Crow Looked at Me at Discogs (list of releases)