Rose Windows eponymous new album is their second. They’re obviously employing the same tactic that The Velvet Underground used when naming albums. The six-piece from Seattle take their influences from many aspects of their homeland’s musical history such as west coast psychedelia, proto-metal and folk. They mix this with sounds from further afield such as North African guitar bands and persian music.
7/10 Robin Staff review, 29 April 2015
Rose Windows offer a nicely dramatic, devilishly well polished type of psych rock in this eponymous record, and if I may say so, that’s just fine -- but maybe, just this once, there’s more than meets the eye. This is more inventive than your average distantly-riffed marathon, taking on an impressive palette of instrumentation that makes for curiously constructed songs among the wash. Take “Strip Mall Babylon”, which takes on plucked strings and acoustic strums in its verses, and goes all wide-eyed synth in its bridge -- eschewing its fairly conventional chorus for moments of genuine interest around the corners.
Since ‘There Is a Light’, Rose Windows have become as much troubadours as rockers, focusing on a solemn psychedelia that would sooner lean on country than wah; “Come Get Us Again” is a pleasantly strummed piece of storytelling that evokes the Grateful Dead when they discovered acoustics and pianos; the organ synth in the background makes it sound elegiac and warming, while “The Old Crow” tries on high getaway drama with nicely calibrated riffs a la Neil Young shooting his baby (what an asshole).
While the songs themselves aren’t always persuading, and often fall short of a compelling melody, Rose Windows have made a record that shows its working, where you can see the folk music and the psychedelic melting into one another subtly. It’s nice to have a band deliver the music rather than hammer it home.
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