New Vinyl Releases 3/16/18

  • American Pleasure Club (formerly Teen Suicide) – A Whole Fucking Lifetime of This (Colored Vinyl)
  • Bassnectar – Reflective (Part 1 & 2) (Colored Vinyl)
  • Black Moth Super Rainbow with Ariel Pink & Tobacco – Mr. No One (Indie Exclusive, Limited to 1000 instore ONLY)
  • Caroline Says – No Fool Like An Old Fool (Two-Tone Sky and Ocean vinyl)
  • The Decemberists – I’ll Be Your Girl (Indie Exclusive on Transparent Blue)
  • Dungen & Woods – Myths 003
  • Earthless – Black Heaven (Clear with Black & Yellow with Green Colorways)
  • Fatboy Slim – You’ve Come A Long Way, Baby (20th Anniversary Reissue)
  • The Fratellis – In Your Own Sweet Time
  • Gang of Youths – Go Farther in Lightness (White vinyl)
  • Green Druid – Ashen Blood
  • Durand Jones & The Indications – S/T (Translucent Red vinyl)
  • Keane – Under The Iron Sea (Reissue)
  • Keane – Perfect Symmetry (Reissue)
  • Mythless – Patience Hell EP (Bone Colored vinyl with Silk-Screened B-Side)
  • Remo Drive – Greatest Hits
  • Soundtrack / Claudio Simonetti’s Goblin – Dawn of the Dead Live in Helsinki (Hand-Numbered to 500)
  • Soundtrack / Jon Brion – Lady Bird
  • Soundtrack / John Williams – The Last Jedi
  • Starchild & The New Romantic – Language (Red & Black vinyl)
  • Sunny War – With The Sun
  • Tale of Us – Endless Remixes
  • They Might Be Giants – I Like Fun
  • Third Eye Blind – Summer Gods Tour Live
  • Thundercat / DJ Candlestick – Drank: Chopped Not Slopped Version of Drunk (Purple Vinyl)
  • Various – Real Delusions: Finnish Speed and Thrash Metal Explosion 1987-91

New Vinyl Releases 3/9/18

  • A Perfect Circle – The Doomed / Disillusioned 10″ (LE Single-Sided White Vinyl With Screen Printed B-Side)
  • Acid Dad – Acid Dad (LE on Clear Electric Blue Vinyl)
  • Liza Anne – Fine But Dying (Arts & Crafts Pressing with Poster)
  • Bad Religion – Stranger Than Fiction (1994) (LE Reissue on ‘Opaque Grey’ Vinyl)
  • Ken Boothe – Freedom Street (1970) (Newly Remastered Pressing On ‘Grey Asphalt’ Vinyl- Limited to 700)
  • Luke Bryan – What Makes You Country (2Lp)
  • David Byrne – American Utopia
  • Harms Way – Posthuman (White Vinyl)
  • Albert Hammond Jr. (The Strokes) – Francis Trouble Vol. 1
  • Jimi Hendrix – Both Sides Of The Sky (Deluxe 180gram 2Lp)
  • Milt Jackson & John Coltrane – Bags & Trane (1961) (180gram 2Lp Reissue- Remastered From Original Analog Tapes)
  • Kreator – Cause For Conflict (1995) (2Lp Reissue on Colored Vinyl)
  • Langley Schools Music Project – Innocence & Despair (2Lp Reissue of Rare 70’s LPs)
  • Jeremy Messersmith – Late Stage Capitalism
  • Majeure (A.E. Paterra of Zombi) – Timespan Redux (LE Remaster on ‘Clear With Transparent Blue’ Vinyl)
  • Ministry – Amerikkkant (LE ‘Red/Black Swirl’ Vinyl)
  • Morbid Angel – Formulas Fatal To The Flesh (1998) (2Lp Reissue)
  • Nap Eyes – I’m Bad Now (Pink Vinyl- Limited to 600)
  • N.E.R.D. – No One Ever Really Dies (150gram in Die Cut Jacket)
  • Of Montreal – White Is Relic / Irrealis Mood (180gram on Cyan Colored Vinyl)
  • Oneida – Romance (Indie Exclusive 2LpImport on Red Vinyl)
  • The Promise Ring – 30° Everywhere (1996) (LE Clear Vinyl Reissue)
  • Nathaniel Rateliff & The Night Sweats – Tearing At the Seams (Deluxe Edition 2Lp 180gram with Picture Book, and Bonus 7″)
  • Nathaniel Rateliff & The Night Sweats – Tearing At the Seams (180gram 2Lp)
  • The Skull Eclipses – S/T (LE Pressing)
  • Teenage Wrist – Chrome Neon Jesus
  • Various Artists – Lady And The Tramp (LE Picture Disc)
  • Various Artists – Memphis Rent Party (Indie Exclusive Comp. on ‘Rent Money Green’ Vinyl)
  • Tom Waits – Closing Time (1973) (Anti-Remastered 180gram Pressing)

A Chat With: Mauno

Hailing from Novia Scotia, Mauno combines relaxed tones and soothing, harmonious vocals with melodies that’ll keep you on your toes on their latest album Tuning. The sophomore record, which follows up 2016’s Rough Master, threads 14 tracks together in one succinct package; each track existing in its own pocket, but working best when listened through in order. Following Tuning‘s October release date, Mauno are gearing up to hit the road this Spring, stopping by Chicago to play Schubas en route to SXSW. In advance of tonight’s show, we chatted with Nick Everett of the band to talk tour, SXSW, the process behind their record and more. Tune in below to our chat with Mauno!

Photo By Levi Manchak

Starting off, how did you all meet and decide to form Mauno?

Eliza and I met in the spring of 2014 and quickly started play music together, she on cello and me on guitar. We both nerded out about our love of The Books, but then the music we started playing asked to be taken in anther direction entirely, no matter what we wanted it to be. We expanded the sound when we brought in a drummer, Eliza moved to bass, and then we did a much needed lineup change to be where we’re at now with Adam and Scott on guitar and drums. They’re good guys who’ve been playing together for almost decades with an s.

Can you talk a little bit about the process behind your album Tuning? What was the writing and recording process like for the band?

We just try to make the noises. We try not to think about what it sounds like, so much as what the sounds are and what they need to be, to be more themselves. We don’t come at it from a musicological perspective, so the usual references don’t jive. The balance is a lot more pop-oriented than Rough Master, much more carefully crafted (we recorded the whole thing twice), and a lot more cohesive. Rough Master was about conflict and the clash of opposing ideas, and this one is much more about talking through the problems that arise in any creative project and then working together to make a whole. I think it sounds a lot more mature, but then I’ve listened to it about 10 thousand fucking times so I don’t know anything about it anymore.

Who and what are some musical and non-musical influences that inspire your writing? What about influences on your stage presence?

Definitely the work of R. Murray Schafer changed my life (Nick) and relationship to sound over the past couple of years. I read Soundscapes and moving through the world has never quite been the same since. The title is a reference to the subtitle of that book (The Tuning of the World). The background of the record is full of soundscapes, pieces from around Halifax, from around the house we recorded in there, and a couple Eliza recorded in Heidelberg and Berlin while she was living there last summer. They are little pieces of the places we lived in that have had an enormous effect on our sonic understanding and our sonic relationship to our environments. The collage of soundscapes on the record encapsulates this theme, as well as displacement– ideas of associating home with aural landscapes and the cyclical return to them. There’s a whole second soundscape record buried in there somewhere.

Other than that, the world of Christopher Small, especially Musicking has been really influential in the way we’ve talked about playing together and our relationship with the other people in the room while we’re playing. To not think of music as a thing in itself, as not actually existing, but rather a series of dance steps– an action performed in a room-has been really liberating.

As for stage presence, we just try to listen and look like a group of people listening.

What do you hope that an audience takes away from your live show?

Our album?

Which cities on your upcoming tour are you looking forward to playing in and visiting the most?

I have no idea! We’ve never traveled or played in the states, so we have no expectations. Excited to be in Chicago! We’ve driven by it a few times on our way to western Canada. American cities hold a huge place in our imaginations for sure.

What are three things you have to have with you on tour?

Instant coffee, free wifi, extra strings.

You guys will also be down at SXSW next month…what are some of your best music festival survival tips?

Oh my god, skip whatever you think you need to go to and go to bed instead. Take care of yourself — you’ve only got one.

Are there any other bands you’re hoping to catch a show from while you’re down at SXSW?

Yes definitely! Look Vibrant and Girl Ray and Fenster are good pals who rule.

What else is on the horizon for Mauno in 2018?

Making a new record and more horizons.

Mauno will be at Schubas on tonight, March 6th and the show is FREE. Check out details here

This article was originally posted on ANCHR Magazine

Live Review: Ones to Watch Presents COIN and The Aces

This past Saturday night, The Aces and COIN took over The House of Blues Chicago to put on a stunning show to the sold out venue.

After only touring for the first time with Joywave at the end of 2017, The Aces returned to Chicago in a blaze of glory, with some new songs and old favorites. The four piece’s breakout single “Stuck” has racked up over five million Spotify streams, and it definitely acted as a set highlight, but the eager crowd was already singing along to The Aces’ brand new single “Lovin’ Is Bible,” which they had only released the day prior. The Aces’ music compliments certain elements of COIN’s music so well, so anybody that had yet to hear of the latter was quickly won over by their carefree, catchy riffs and sticky choruses. The band and audience bounced infectious energy off one another, starting the night on the right foot.

When the Nashville natives of COIN took the stage next, the energy of the crowd only amplified, and the crowd mimicked a surround sound speaker system, echoing the lyrics of COIN’s songs back to the stage. As the setlist weaved through different sections of COIN’s discography, featuring newest track “Growing Pains” and tracks like “I Don’t Wanna Dance” and “Talk Too Much” from 2017’s How Will You Know If You Never Try, the crowd remained relentless. They danced along with the pop-fused rock songs, causing the floor of the Downtown venue to act as a trampoline, propelling everyone to keep moving. The high spirits of the audience and the band themselves never wavered, and their intense production and lighting complimented the upbeat music.

The night ended with a roar of appreciation, not just for COIN, but The Aces too, and an ambitious and optimistic air clung to the concert-goers as they left the venue at the end of the night, knowing that they’d just witnessed a monumental moment. If you missed out on the show, check out our photo gallery of both bands for a look at evening!


This article was originally posted on ANCHR Magazine

Whitney’s Three Night Valentine’s Day Run at Thalia Hall

Chicago sweethearts Whitney took over Thalia Hall last week for not one, but three incredibly special shows in honor of Valentine’s Day. The three night stint featured a mix of different support acts, with music from all different pockets of genres and styles. Night one featured local buzzy hip hop artist Kweku Collins warming up the stage, while night two had duo Ohmme and the band Deeper, both also from Chicago. Closing out the run of three shows, Thursday night featured Baby Blue and Kevin Krautertaking the stage before Whitney.

Whitney’s setlist all three nights featured some special gems and rarities all around, and each night had its own special touch. For the first two nights, the band decided to split up their show into two parts. The first part featured some Whitney staples like “Polly” and “Dave’s Song” from their album Light Upon The Lake, as well as some covers like “Gonna Hurry (As Slow As I Can)” by Dolly Parton and “On the Way Home” by Neil Young. When the band left the stage and came back for part two, they were joined by a string section. The strings layering with Whitney’s usual horn section rounded out the sound, adding even more warmth to Whitney’s already rich live show.

Part two of the set featured the gentle “Light Upon the Lake” and a new, unnamed song in addition to a few covers. The beautiful set came to a peak each night, with an epic ending thanks to special guest and friend of the band, Aaron (known as finally_aaron on Instagram).  Aaron took the stage following the crowd favorite “No Woman” each night, giving the band a hand with their rendition of the classic “My Girl,” which was perfectly apt for the occasion. The Pilsen concert hall gave a standing ovation each night to Aaron and the band, who complimented each other perfectly. The energy only amplified when Aaron stayed to contribute his powerful and soulful vocals to Whitney’s final song, “Golden Days.”

Whitney has been one of Chicago’s most beloved bands for a while now, but these three magical nights just further solidified how much this city loves Whitney. If you missed out on all of sold out shows, relive some of the magic by checking out photos from the Valentine’s day extravaganza below!

Keep up with Whitney on social media and grab your copy of the demo versions of Light Upon The Lake here.

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