7 e.p. Japanese Import version of both Mount Eerie albums Clear Moon & Ocean Roar in one! Here are the descriptions for each album individually as found on the P.W. Elverum & Sun, ltd.
"Ocean Roar is part two in a pair of new Mount Eerie albums this year. It acts as a counterpoint to the soft synth walls and landscape pondering of Clear Moon, presenting the opposite of that album’s clear glints of awareness: a total wall of blue-grey oceanic fog, a half remembered dream of a trip through dense old growth hills to the gnarly winter ocean, in the middle of the night, decades ago. This album is the audio equivalent of the blanket of thick dark water vapor that covers the Pacific Northwest for most of the year, revealing only brief glimpses of illumination. Ocean Roar is perhaps more experimental than the average album. Calling these things “songs” only loosely applies. These are closer to studies in sound, attempts to alter the way the brain experiences its surroundings after being subjected to endless chords, repeating note flurries, stretched drones. It’s “psychedelic” in same way as seasickness or vertigo. Warmth and distortion, burning driftwood, 9 months of rain."
In this first of two new albums planned for release in 2012, Mount Eerie presents a monumental work of depth and maturity. These are songs about a quiet life in and around a small northwest town, usually buried in fog, and the unexpected moments of clarity that briefly flash through. Clear Moon is the resonant lone bell symbol, the glint in the water, the sudden breath.
After all the world-touring that followed the release of Wind’s Poem, Phil Elverum has spent 2 years establishing a new recording studio, “the Unknown”, in an old de-sanctified church in Anacortes, Washington. These 2 new albums, Clear Moon and Ocean Roar (due in September), are the first Mount Eerie recordings to be released from the new old space. You can hear the giant wooden cathedral room in these songs. Vast echo, resonating gongs, impenetrable walls of thickness, and always a voice cutting through the fog, moon-like.
The sound is not lo-fi as it is sometimes called. It’s also not hi-fi. These are just crazy recordings, bigger and deeper than any real- life fjord. It’s 100% analog, and it is a sound that can only come from 15 months of studio solitude, crushing tape, riding waves of fake strings, finding new angles on “intensity”. The music of Popol Vuh was inspirational, as well as explorers from black metal such as Menace Ruine, Nadja, and others. Contemporaries in theme can be found in the heavy sacred regionalism of Olympia’s Wolves In The Throne Room. Ultimately, this is music on its own island, unlike anything else; a break in the clouds and a view of a hidden new landscape.