psychedelic rock sextet Rose Windows will release their self-titled
second album, the follow up to their acclaimed debut The Sun Dogs, on CD/DL/LP May 4th in Europe and May 5th in North America via Sub Pop. Rose Windows,
featuring the highlights “Glory, Glory,” “Strip Mall Babylon,” and
“Blind,” was recorded in the fall of 2014 at Studio in the Country in
Bogalusa, LA, and produced & mixed by Randall Dunn (Earth, Akron
Family, Cave Singers). You can now listen to heavy rocker “Glory,
Glory” via Consequence of Sound.
CoS had this to say, “Marked by a smashing rhythm section and gnarly, over-sized guitar riffs, the track finds the band operating in the the proto-metal tradition of a slightly grimier Black Sabbath (see news story February 9th).”
Rose Windows have scheduled a few headlining & festival dates in support of the release: February 20th in Seattle at Neumos; February 21st in Bainbridge Island, WA at Rolling Bay Hall; May 8th in Austin, TX for Austin Psych Fest’s Levitation 2015; And Memorial Day Weekend in George, WA for Sasquatch Festival. Please find a complete list of tour dates below.About Rose Windows:
When Chris Cheveyo abandoned the finalized recording of his heavy instrumental post-rock band towards the end of 2010, it wasn’t out of a general cynicism towards expansive, heady music. There was just something about that specific palette of tones and the cut-and-dry melodrama of the songwriting that wasn’t satisfying anymore. So he culled his old habits and made a fresh start with Rose Windows, a Seattle-based sextet that drew upon everything from American folk to West Saharan guitar rock, from pentatonic proto-metal to traditional Persian music, from the darker corners of California’s early psych scene to the hazy atmospherics of contemporary drone artists.
It was a risky era for this sort of bold new venture—there was a lot of talk of austerity in 2010. People were upside-down on their mortgages. Gas prices were high. Not surprisingly, many of the new musicians of the Great Recession were solo bedroom artists, laptop producers, and lo-fi aficionados. It was a time to think small and live within one’s means. It was an inopportune time to create the kind of lavish, orchestral, spacious records that came out of the peak of album-oriented rock radio of the ‘70s. And yet that’s the kind of record Rose Windows made in the fall of 2011. Their debut album, The Sun Dogs, was a brave record—exploratory, diverse, and lush. It didn’t fit in with the escapist pulse of indie dance music, or the retrograde scuzz of garage rock, or the bucolic nostalgia of the breezy new folk scene. The Sun Dogs, with it’s bluesy dirge, exotic scales, and majestic sprawl, didn’t quite fit it anywhere. Yet its theme of “the everyday blues that capitalism and its hit man, religion, bring on all of us” was certainly apropos of the time (read more at Sub Pop).