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Release Radar 7/17/20: Half Moon Run vs The Regretteson July 18, 2020 at 1:02 am

Cut Out Kid

Release Radar 7/17/20: Half Moon Run vs The Regrettes

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Release Radar 7/17/20: Half Moon Run vs The Regretteson July 18, 2020 at 1:02 am Read More »

Trump, Biden and Kanye 2020 presidential bobbleheads unveiledon July 17, 2020 at 8:59 pm

ChicagoNow Staff Blog

Trump, Biden and Kanye 2020 presidential bobbleheads unveiled

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Trump, Biden and Kanye 2020 presidential bobbleheads unveiledon July 17, 2020 at 8:59 pm Read More »

Hot Dog University Bringing “Depression Dogs” Backon July 17, 2020 at 8:31 pm

Hot Dog Diaries

Hot Dog University Bringing “Depression Dogs” Back

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Hot Dog University Bringing “Depression Dogs” Backon July 17, 2020 at 8:31 pm Read More »

Moving the Chains with … WIU director of strength and conditioning Jon Minnison July 18, 2020 at 2:26 am

Prairie State Pigskin

Moving the Chains with … WIU director of strength and conditioning Jon Minnis

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Moving the Chains with … WIU director of strength and conditioning Jon Minnison July 18, 2020 at 2:26 am Read More »

Never at a loss for words: New language for the pandemicon July 18, 2020 at 2:48 am

Margaret Serious

Never at a loss for words: New language for the pandemic

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Never at a loss for words: New language for the pandemicon July 18, 2020 at 2:48 am Read More »

Scott McGaughey of local electronic-music veterans Chandeliers goes soloon July 17, 2020 at 10:00 pm

If you’ve ever seen Chicago ensemble Chandeliers, you’ve seen Scott McGaughey hunched behind a bunch of black boxes and patch cords. Chandeliers have long taken an ecumenical approach to electronic music, weaving together clattering drum programs, squelchy funk punctuations, and long, proggy melodies; the closest they get to a rule is that hardware, not software, determines the sounds. Synthesizers are also the dominant sound source on McGaughey’s first solo LP, but he’s swapped Chandeliers’ frequently lengthy jams for carefully layered constructions that sneak hints of complicated emotions into their catchy tunes. Jaunty piano stabs challenge the bubbly wistfulness of “Glass Bottom Boat,” and the slowed-down voices and sandwich-thick low notes of “DVD Menu” sink through ascending swirls like guilty memories of an afternoon that could’ve been spent more productively than clutching a remote control on the couch. “Passport” seems to accumulate force as one sequence of blips overtakes another and fading echoes spiral away from the core groove, so that the track’s development feels like a traveler picking up resolve with every step of a journey. Listening to You Don’t Need a Key to Leave is a bit like leafing through a stranger’s diary: it feels quite personal, but since the writer didn’t need to spell out all the action, you’re left guessing as to just what it’s about. v

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Scott McGaughey of local electronic-music veterans Chandeliers goes soloon July 17, 2020 at 10:00 pm Read More »

Lianne La Havas moves between love and loss on her new self-produced, self-titled albumon July 17, 2020 at 7:30 pm

Born in London to a Jamaican mother and a Greek father, singer and guitarist Lianne La Havas takes inspiration from both branches of her family tree and beyond, finessing diverse influences into charming, sophisticated, and often heady alt-pop. She made her full-length debut with 2012’s acoustic guitar-driven Is Your Love Big Enough? and then slipped into something more electric on her 2015 follow-up, Green & Gold. Her new self-titled album is the first she’s produced on her own with her band, and its songs of love, loss, and personal growth continue her eclectic pop streak–it’s accessible yet hard to pin down. On a synth-soaked cover of Radiohead’s “Weird Fishes,” watery keys break into an a cappella bridge, and the music builds into blissful alt-rock topped with La Havas’s hearty vocals. “Please Don’t Make Me Cry” channels 90s R&B with its slick, cinematic sound, moving between minimalist drums and sepia-toned acoustic guitar and waves of lushly layered vocal harmonies. On the breakup tale “Seven Times,” La Havas pairs danceable grooves with delicate, folky guitar and deceptively light-sounding lyrics about nonstop crying and praying. But by the record’s final track, “Sour Flour,” she’s overcome her heartbreak–its airy, complex instrumental rhythms and hand claps and her own little laugh signal that she’s moving into a new chapter of her life. v

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Lianne La Havas moves between love and loss on her new self-produced, self-titled albumon July 17, 2020 at 7:30 pm Read More »

Chicago Bulls News: Latest on Jim Boylen should disgust fanson July 17, 2020 at 1:11 pm

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Chicago Bulls News: Latest on Jim Boylen should disgust fanson July 17, 2020 at 1:11 pm Read More »