When Chris Cheveyo abandoned his heavy instrumental post-rock band towards the end of 2010, 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. Many of the new musicians of the Great Recession were solo bedroom artists, laptop producers, and lo-fi aficionados.