Waking Windows Festival - 3-Day pass

Waking Windows Festival - 3-Day pass

Thu. July 20 - Sun. July 23

8:00 pm

$75.00 - $150.00

This event is all ages

WHITNEY
WHITNEY
Secretly Canadian and Lead Riders have teamed up to present vital new music from exciting newcomers Whitney who are offering a first glimpse of what's to come in 2016 with "No Woman." In spite of its own lost soul whistfulness, there's something immediately comforting and simple at the core of "No Woman," the latest sonic missive from Chicago's Whitney. It's as soothing to your musical memory as the first two bars of The Chordette's "Mr. Sandman." It's as unfettering and wind-through-your-hair of America's "Pacific Coast Highway"—albeit here in an edible-induced cruise control. Drummer/vocalist Julien Ehrlich's (ex-Unknown Mortal Orchestra) naked, soft-edged falsetto charmingly guides us through this breakup bender amid subdued strings and velveteen horn section bursts: "I left drinkin' on the city train to spend some time on the road/Then one morning I woke up in LA, caught my breath on the coast/I've been going through a change/I might never be sure/I'm just walking in a haze/I'm not ready to turn." With writing partnership of Ehrlich and Max Kakacek (guitar, ex-Smith Westerns), Whitney has given us an anthem for moseying on and forgiving yourself of your many fumbles. Julien explains, "'No Woman' started to take shape when I woke up on a friend's floor one morning. He was taking a shower and the chorus popped into my head while I was grabbing my stuff to go home. Later on Max and I sat down and wrote the chords and song structure in our apartment. It's about losing the love of your life and being thrown into an aimless journey because of it." This is a feeling that pervades the collection of songs the band has written and recorded over the last year, and has prepped for later in 2016.
Car Seat Headrest
Matador Records is thrilled to announce that it has signed Car Seat Headrest and will release Teens of Style on October 30, with Teens of Denial to follow soon after in 2016. This prolific artist (né Will Toledo) comes to Matador having already crafted an 11-album catalog of staggering depth, all self-released on Bandcamp, which has gained him an obsessive following and over 25,000 downloads – all without the muscle of a manager, label, agent, or publicist – until now.

Car Seat Headrest began in 2010 in Will Toledo's hometown of Leesburg, Virginia. Needing a place of solitude (and soundproofing) where he could record vocals undisturbed, a 17-year-old Toledo set up shop in the family car. Toledo's catalogue is sharp, literary, and culturally omnivorous as it touches upon youth and death, love and depression, drunken parties and 2nd century theologians. Ever surprising, his lyrical imagery ranges from playful to sexually frank to sorrowful, often within the same song.

After relocating to the Seattle suburbs in 2014, Toledo assembled a lineup with bassist Ethan Ives and drummer Andrew Katz. Teens of Style is the first Car Seat Headrest album recorded with a full band, and the sound is vibrant and powerful, with a wide stylistic range.

On Teens of Style, Toledo has taken material from the first three years of the band's existence and reworked it to generate some of the most realized arrangements to date. Drawing material from 3 (2010), My Back Is Killing Me Baby (2011), and Monomania (2012), Teens of Style provides a concise overview of the band's many sonic and emotional facets, with the songs ranging from electronic psychedelia to punky anthems to melancholic acoustic numbers.

The longest track on Teens of Style, "Times to Die," is just under seven minutes, applying breakbeat cut- ups and "Low Rider" horns to a groove-driven neo-psych jam with lyrics about Judaism, Hinduism, and the record business. Similarly, "Maud Gone" is a wistful 60s-inspired pop number paying homage to Yeats's unrequited love, while the intricate party track "Los Borrachos" borrows its title from the Diego Velasquez painting.

Car Seat Headrest's conceptual ambition and stunning songwriting has been apparent since its early days of laptop recording, the scale of Toledo's vision going far beyond the constricting "lo-fi" term. Now on his Matador Records debut, Teens of Style, we witness Toledo presenting his intricate ideas with more clarity and refinement than ever, delivering an enthralling collection of songs destined for wide acclaim.
Low Cut Connie
Priests
Moodymann
Jay Daniel
Dâm-Funk
Mary Lattimore
Mary Lattimore
Mary Lattimore is a harpist living in Philadelphia. She experiments with her Lyon and Healy Concert Grand harp and effects. Her solo debut, "The Withdrawing Room", was released in 2013 on Desire Path Recordings.

Mary also writes harp parts for songs and recordings, performing and recording with such great artists as Meg Baird, Thurston Moore, Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Ed Askew and Fursaxa.

Mary has been a part of soundtrack projects including the Valerie Project, Lopapeysa, a film by David Kessler set in Iceland, and the film score for Marina Abramovic: the Artist is Present, a documentary about the artist.

In March 2013, she accompanied Nick Caves beautiful horse soundsuits for the 100th anniversary of Grand Central Station in New York City.

Her 2014 record Slant of Light with guitarist/synth player/producer Jeff Zeigler was released by Thrill Jockey, which was followed by the two collaborating on a track for Ghostly Swim 2. Mary and Jeff also composed a score to Philippe Garrels 1968 experimental silent film Le Revelateur, and debuted it in Marfa, Texas along with the film. They have since performed it Chicago, Philadelphia, and early 2015 in Los Angeles.

Her debut solo record for Ghostly, AT THE DAM, sees release this March.
Deradoorian
Empty Houses
Empty Houses may well be the best-kept secret in Detroit. Until now, the trio has remained almost entirely out of the public eye, crafting the songs that comprise its debut album, Daydream, in relative secrecy, which is ironic considering the sheer infectiousness of their sound and a lingering hunch that their music – a heady, euphoric pastiche of pop Americana that merges everything from soul and doo-wop to funk and indie rock - is about to become beloved by many.

Empty Houses formed in 2014 when vocalist Ali Shea began writing songs with Adam Mercer and David Mackinder, quickly discovering a truly potent chemistry between themselves. United by a love for their regional forebears at Motown, the trio set out to create a timeless breed of feel-good music that pays homage to the past while incorporating modern production savvy. Harnessing the spirit and energy of a bygone era with deft musicianship and Shea's rich, soulful vocals, they emerged with something wholly unique in contemporary pop. After writing and recording a handful of songs, the band teased one (then titled "Far Away") online before promptly signing with Sargent House and recording their full-length debut. Recorded in Atlanta with Grammy-winning producer and engineer Graham Marsh (Cee Lo Green, Gnarls Barkley, Bruno Mars), Daydream is Empty Houses' mission statement writ large; ten jubilant, occasionally bittersweet tracks of unforgettable, hook-laden grooves, acknowledging the best pop music of the past five decades.

Recorded live in the studio with the help of their friend Tymm Rengers on drums, the album captures the fun its creators had making it, spurred by a love for playing which is evident in the very fabric of the songs themselves. Opening salvo "Better of Me", a sort of lovelorn ultimatum, wastes no time in showcasing Shea's bold presence. "I'm in demand", begin the lyrics, and indeed her passionate voice is difficult to resist. "Daydream", the title track, is a vintage slice of enchanted melancholy propelled by a rhythm that would do the Funk Brothers proud. Elsewhere, the smoky crooner "Mercy" finds Shea lamenting the passing of time, a theme prevalent, not surprisingly, across the album. "Falling Away", meanwhile, anticipates love yet unknown, with the singer confiding earnestly, "I welcome in the storm that's been building all my life". The bluesy reverb-rock of "Rope" channels Shocking Blue at their best, before the sobering heartbreak of piano ballad "Every Word" sets a more pensive tone. The optimistic, finger-snapping closing track, "Thunderstorms", mines a hopeful vein, fading out to suggest, perhaps, that its sunny exuberance continues on into infinity.

Awash in piano and horns, harmonizing vocals and traditional song structures untainted by passing fads and studio trickery, Daydream avoids easy categorization, its familiarity and its freshness in remarkable contrast. It's heart-on-your-sleeves rock n' roll without pretense or irony, a touchstone signifying a new appreciation for a classic sound. Empty Houses make timeless, joyful music that's destined to cross boundaries of age and culture.
Margaret Glaspy
The Craig Brown Band
Disco Phantom
Venue Information:
El Club
4114 Vernor Hwy
Detroit, MI, 48209