Though his devotees unfalteringly oppose the notion, it's impossible to ignore the reality that Phil Elverum's material has lost much of its luminosity in his transition between The Microphones and Mount Eerie. The change lies in the fact that the singer used to write less and say more, creating art that's emotional undercurrents could be felt before their exact story was understood. Take, for example, The Microphones' seminal release The Glow Pt. 2 compared to Mount Eerie's most significant outing No Flashlight. The former is an enveloping reverie, an aural journey through the melancholy twilight, frigid darkness and warming dawn of human relationships. The latter is a tangled briar of wordy lessons that require an attempt at the Guinness Book Record for world's largest album insert to clumsily explicate. Though it's hard to fault a musician for wanting to communicate, Mount Eerie tends to push its meanings so heavily that they compromise the music itself. Instead of crafting lush

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