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Slipped Discs June 2017

Discs you may have missed | by John Noyd

Sleepy Sun

From twee indie-rock dreamer CHARLIE FINK’s dandy biographical theatrics, “Cover My Tracks,” to footloose dancehall cruiser J BERHARDT’s laidback attacks, “Running Days,” June albums dine on disappearing and denying. Breaking from the pack, tender, ephemeral folk-ghost composer HOLY OAK’s interconnected still-water reflections, “Second Son,” dashing, compassionate NATHAN OLIVER’s lyrical jangle-bangers, “Head In The Sand,” and storm-riding guitar-charmers SLEEPY SUN’s tranquil anguish, “Private Tales” suggest it’s best working outside the spotlight.

Slipped Discs appears every month in print in Maximum Ink music magazine, this months reviews are:

Noga Erez - Off The Radar

Noga Erez

Off The Radar
Record Label: City Slang
Review published: May 2017

Succulent grime plops dollops of basement sound-polyps atop, “Off,” to skitter in coin-roll rhythms, punching grungy gunshot-drums under flinty zip-line synths while slinky banshee samples unfold around probing split-screen vocals. From needy mediator to temptress messenger, Erez prowls through clairvoyant clamor; sending sassy trap-beat panache and solemn art-pop calm through broken post-millennial prisms focused on escape-plan precision and street-wise conviction.

(482) ViewsPermalinkNoga Erez Website

Dougmore - Outerboros


Record Label: self-release
Review published: May 2017

Tasty woodland fables laid out like chamber-Celtic banquets, Dougmore’s florid feast serves hopeful banjo opuses where cantering chanteys skip in delicious mythical chivalry sweetened by lush chorales and song-bird sonnets sprinkled with baroque notions tell spry, pastoral stories dipped in wishful minstrel kismet. Cinematic maps cataloging the home-sick and lovelorn, “Outerboros,” prances with intoxicating revelry, foolhardy artistry and whimsical innocence.

(460) ViewsPermalinkDougmore Website

Marika Hackman - I’m Not Your Man

Marika Hackman

I’m Not Your Man
Record Label: Sub Pop
Review published: May 2017

Wary, unsparing post-modern fairy-tales gilded in silky will and sugar-coated thrills, “Man,” fans cozy smoldering love-potions into rampant vampire fires; sensuous gender-politics slipped into breezy indie-pop hospitality explores coy detours enticing ulterior queries from brazen phrases. A fertile mind bursting with intrepid methods, Hackman tactfully reels from servant to serpent, engaging both sides to pit and outwit her divided desires.

Two Inch Astronaut - Can You Please Not Help

Two Inch Astronaut

Can You Please Not Help
Record Label: Exploding in Sound Records
Review published: May 2017

Stretching reckless leads around bounce-house percussion, steeple-chasing bass and baited statements, Two Inch Astronaut’s cobra-brokered roller-coasters design sole-survivor idylls from mosh-pit pillage riding quick-draw pile-drivers into falling-down-the-staircase riffs. Capsized catapults swing cathartic slingshot catechisms to conquer doubts, expose fear and avenge offenses, helping, “Help,” delve deep to reap woeful social stingers, wringing impending send-offs with ecstatic bashes and infectious kvetching.

Kacey Johansing - The Hiding

Kacey Johansing

The Hiding
Record Label: Night Bloom
Review published: May 2017

Bright, feathery jazz pirouettes spun in curious flurries from gossamer longing and carefree teases, Johansing’s creamy coos and rippling guitar bask in masterful afternoon-cafe dream-pop as airy arrangements sweep caressing suggestions into thoughtful possibilities. Immersed in warm massaged chords , “Hiding,”  guides and confides; ethereal sun-bleached weariness gliding and aligning gentle sentimental melodies, transparent romantic semantics and blushing, air-brushed pageantry.

(463) ViewsPermalinkKacey Johansing Website

Alison Moyet - Other

Alison Moyet

Record Label: Cooking Vinyl
Review published: May 2017

Heart-felt swells among spectacular swoons, “Other,” discovers heaven-sent eloquence inside synthesized magic-carpet rides. Swinging from stern urban grit to selective introspective affection, Moyet’s regal details, smoldering diction and choir-quiet interludes offer fearless, clear-eyed soul inside morning-after ballads and midnight minimalist’s techno-symphonies; adventurous experiments in story-telling soundscapes where funky skulking runs among poised rejoicing and ominous taunts tangle with sinful intimacy.

Final Thoughts

Whether perplexing questions or civil quibbles, summer albums unite our isolationist tendencies over common problems. How does counter-cultural fountainheads PSYMON SPINE’s multi-faceted gonzo-rock, “You Are Coming to My Birthday,” graduate into power-blues duo ROYAL BLOOD’s monstrous, “How Did We Get So Dark?” Consider modern-pop co-opters KANE STRANG’s insightful ironies, “Two Hearts and No Brain,” fab rabbit-hole rockers WALRUS’ cosmic-ashram blues, “Family Hangover,” or idiosyncratic party-crashers THE DRUMS’ electro-retro, “Abysmal Thoughts,” before appreciating soft-hearted pop-rocker DAVE DEPPER’s air-tight Cassanova overtures, “Emotional Freedom Technique,” or knob-twiddling synergist MUX MOOL’s robo-programmed, “Implied Lines.”

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