Ever since forming in September 2014, Mauno (pronounced Mao-no, and ironically named after bassist/vocalist Eliza Niemi’s completely unmusical Finnish grandfather) has had a wandering sound that refuses to be pinned down. On Rough Master, they strayed from twisting grunge-pop to piano ambience and string-accompanied haze, in part inspired by Niemi’s background in classical cello and prog rock.

Tuning is a different beast. “It’s a lot more pop-oriented and concise,” says Everett. “Much more carefully crafted and a lot more cohesive. It’s more mature, I think – but I’ve listened to it about ten thousand fucking times so I don’t know anything about it anymore,” he laughs.

There’s a raw, guttural, emotional punch to Tuning too — tales of botched romance and misdirected dreams play out above its bed of crunchy guitars and crashing cymbals. “It’s a collection of reflections on the feeling of finally leaving, on the complexity of relationships, on what the end of something means,” say Mauno.

In the last year, Mauno released Tuning on Idée Fixe (Canada) and Tin Angel (EU/UK), peaked at #2 on the national Earshot! charts and toured Canada and Europe with Chad van Gaalen.

Dan Edmonds

Edmonds debut LP, Ladies on the Corner, rocks a shaggy, slack-assed, electric-beat-folkie vibe reminiscent of Lou Reed, Kurt Vile and the young Bob Dylan and fellow Grateful Dead admirer Cass McCombs, with a couple of rambles into mournful, distant-psych territory that evokes the late, great Galaxie 500 in its tenderest moments of Velvet Underground idolatry. In just eight songs and 22 minutes it portends a notably richer and stranger musical future ahead than the one already promised. - Ben Rayner The Toronto Star

He’s most recent video premiered on Noisey a couple of weeks ago:

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