In the Aeroplane Over the Sea

In the Aeroplane Over the Sea, the second and final studio album from Neutral Milk Hotel, is nothing short of an indie-rock landmark. Released on 10 February 1998 by Merge Records, the album crystallised Jeff Mangum’s singular vision into something deeply surreal and transcendent, earning a cult following that has only grown in stature over the years. At once raw and ethereal, In the Aeroplane Over the Sea remains one of the most distinctive albums of its era, combining lo-fi indie rock with psychedelic folk and a striking use of unconventional instrumentation.

Produced by Robert Schneider at Pet Sounds Studio in Denver, the album is marked by a deliberately “low-fi” production style. Schneider, alongside Mangum, crafted a sound that’s intensely personal yet universally resonant—guitars, drums, and horns coalesce into a wall of fuzz, distorted through heavy compression and characterised by a palpable warmth that feels both organic and otherworldly. This approach, which avoids conventional studio effects, creates a sonic texture that feels as though it’s being pulled from the very air itself.

The album’s sonic palette is enriched by the inclusion of instruments rarely heard in the indie sphere—such as the singing saw and the uilleann pipes—further cementing its place as a genre-defying masterpiece. These sounds are used sparingly but effectively, adding to the album’s dreamlike quality. There’s a sense of space between each note, as though every moment is suspended in time.

Lyrically, Mangum weaves a deeply personal and surreal narrative, one that touches on themes of love, loss, nostalgia, and the crushing weight of history. The album’s most iconic track, “Holland, 1945”, is a frenzied outpouring of emotion, inspired in part by The Diary of a Young Girl by Anne Frank. The music here matches the urgency of Mangum’s words, with sharp, discordant horns and chaotic rhythms. “Two-Headed Boy” and “Oh Comely” follow a similarly introspective path, their fragile beauty contrasting with the harsh, raw energy of other tracks. Throughout, Mangum’s voice—often trembling with vulnerability—guides us through a swirling kaleidoscope of sound and meaning.

When it was first released, In the Aeroplane Over the Sea garnered moderate praise but wasn’t immediately recognised as the cult classic it would become. It took time for the album’s layered, intricate beauty to reveal itself to listeners, and by the mid-2000s, it had evolved into a cornerstone of ’90s indie rock. Its influence is now undeniable, with countless artists citing it as a defining inspiration.

This was also the beginning of the end for Neutral Milk Hotel, as the intense touring schedule that followed the album’s release began to take its toll on Mangum’s mental health, leading him to retreat from the public eye and effectively bring an end to the band’s activities. But In the Aeroplane Over the Sea stands as a perfect swan song—a singular expression of art that is at once profoundly alien and universally human. It’s a record that invites repeated listens, each spin revealing new nuances and meanings, securing its place as one of the most influential albums of its time.