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Tonight, Reggie's becomes a mud-wrestling arena, because that's how the Mud Queens of Chicago like to set the stage. Sharon Van Etten also plays a free show at Pritzker Pavilion that should involve substantially less grappling.
On Tuesday, Chicago baroque poppers the Hush Sound return from a hiatus that began in 2008 with new music at Metro, and Winterhymn plays at Reggie's.
After the jump, more from Soundboard:
Maine-based collective Herbcraft does "pretty much everything you’d want a psychedelic band called 'Herbcraft' to do," writes Miles Raymer: "droning organ, celestially twanging electric guitar, and washes of meditative vocals that have a powerfully transporting effect even on sober listeners. It’s the musical equivalent of watching someone taking a massive bong hit and then blow a perfect dream catcher out of smoke."
This Portland-by-way-of-Brooklyn band's "dreamy, hazy sound and stream-of-consciousness songwriting—it sometimes seems like Daniel Hindman’s lazily floating guitar never starts or stops but just always hangs there—would go well with soaking in a warm tub filled with eucalyptus flowers," writes Kevin Warwick. "Front woman Sarah Versprille often layers her vocals, which balance dark and eerie against soothing and enchanting, and the music morphs with nary a bump from rollicking southern folk ('Only Lonely Lovers') to gloomy darkwave ('Scotty')."
"Toronto four-piece Blood Ceremony often get described using the words 'folk' and 'doom,' usually at the same time, but the real precedents for their sound are late-60s and early-70s witch-rock bands such as Black Widow and Coven," writes Monica Kendrick. "Their third album, The Eldritch Darkness, is solidly unmundane from start to finish, with wailing soloing, Hammer horror organ, and crunching riffs. If you’ve ever put mugwort or wormwood in your bong when you ran out of weed, this is totally for you."