Waking Windows pre-party with Mount Eerie, Jeremy Gara & C.W. Stoneking + Wren Kitz

Waking Windows Festival present's

Waking Windows pre-party with Mount Eerie, Jeremy Gara & C.W. Stoneking + Wren Kitz

Jeremy Gara ( of Arcade Fire ), C.W. Stoneking, Wren Kitz

Thu · July 20, 2017

8:00 pm

El Club


This event is all ages

Mount Eerie
Mount Eerie
In high school in Anacortes Washington in 1996 Phil Elverum started calling his tapes of self-recorded noise
and songs “The Microphones”. Since then he’s produced two decades worth of records that span a wide
spectrum from studio heavy atmospheric landscaping to simple raw songs.
The Microphones project was nourished by and located within the community of artists around K Records in
Olympia in the late 90s/early 2000s, and Phil Elverum’s musical ideas were clearly the product of the flood
of independent music in the NW during those years.
After five albums the project was renamed Mount Eerie just as the Microphones were getting some
unexpected attention from the widespread acclaim of “the Glow pt. 2” (2001). The Mount Eerie recordings
got weirder and broader, and Elverum left K Records and began releasing everything himself, ultimately
building a self-contained small town operation in Anacortes called P.W. Elverum & Sun. Radical selfsufficiency
has been a theme and obsession; all all ages shows and never though a manager or booking
agent, always self-recorded, hands on in all details.
Mount Eerie’s albums have always aimed to push into new territory, both in sound and idea, but the thread
of Elverum’s voice has remained constant throughout, soft and human amid the wide range of textures and
worlds. Often the lyrics have attempted to grapple with big questions, the briefness and the smallness of
human life being a running theme. On occasion the music has been called “black metal” (Wind’s Poem,
2009), “dream landscape” (Clear Moon, 2012), and “raw and direct” (Lost Wisdom, 2008).
The new album, “A Crow Looked At Me”, sounds closer to the latter; minimal instrumentation, no
production, clear and heavy words right up front. The difference here is the subject matter. In 2015
Elverum’s wife, the French Canadian cartoonist and musician Geneviève Castrée, was diagnosed with a bad
cancer just after giving birth to their first child. She died a year later. Elverum wrote and recored the album
throughout the fall of 2016 in the same room where Geneviève died, using mostly her instruments; her
guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper.
The songs are about the brutal details of that experience, from the hospitalizations to the grieving, the
specific domestic banalities that become existential in the context of such huge and abrupt loss. These songs
are not fun. They are pretty and they are deep, and they find a love that prevails beneath the overwhelming
and real sorrow. It is unlike anything else in the Mount Eerie catalog in its unvarnished expressions of
personal grief, metaphor-free.

The writing draws inspiration from Karl Ove Knausgaard, Julie Doiron, Gary Snyder, Sun Kil Moon, and Joanne
Kyger (whose poem “Night Palace” is on the album’s cover). The sound was influenced by the spare
production of the 1996 Will Oldham album “Arise Therefore”.
Jeremy Gara ( of Arcade Fire )
Jeremy Gara ( of Arcade Fire )
C.W. Stoneking
C.W. Stoneking
Australian blues singer and songwriter, who plays electric guitar, banjo, and dobro.

Born in Katherine, in Australia’s remote Northern Territory, C.W. is the son of an American school teacher with a passion for music. He is influenced by Son House, Robert Johnson, Skip James and Bukka White, gospel blues, Chicago blues, ragtime, Hokum blues, calypso, early rock ’n’ roll, ’60s girl groups, and late-’50s R’n’B, among many others. CW taught himself the banjo and electric guitar, but his prized possession is a 1931 National Duolian dobro. He has recorded three complete albums of wholly original material: King Hokum, Jungle Blues and, his latest, Gon' Boogaloo. Stoneking paid tribute to some of his musical influences on his semi-official bootleg album, Mississippi & Piedmont Blues 1927-41, a limited edition release that was only available at his gigs, which features songs by Sleepy John Estes, Memphis Minnie and Blind Willie McTell sitting alongside obscurities by Bobby Grant, Geeshie Wiley, Joe Callicott, Mattie Delaney and Blind Blake.
Wren Kitz
Wren Kitz
Wren Kitz, the Vermont-based singer-songwriter who released his debut record in 2015, has announced a new album Dancing On Soda Lake, due out June 2 on NNA Tapes. Kitz has shared the opening track from the record, “Haunted Hole.” With a hallucinatory warble perfect for the impending warm season, “Haunted Hole” meditates on mortality by way of oceanic tape collage and guitar musings, before subsuming itself in a wash of feedback. It’s a gorgeous and discomfiting tribute to the frustrating limits of the physical form, while still able to recall the ethereal bitcrush of forgotten, secret worlds.
Venue Information:
El Club
4114 Vernor Hwy
Detroit, MI, 48209