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Slipped Discs May 2018


Discs you may have missed | by John Noyd

Pinkshinyultrablast

Misery loves company for May’s saddled albums. Summoning nihilism and dread, squelchy mechani-planet fantasists BLACK MOTH SUPER RAINBOW’s hypno-slithering solos operating ghost-poked sonar, “Panic Blooms,”  irradiated darkwave circuit-stalkers TWINS’ squeaky-clean pre-sequenced secrets, “That Which Is Not Said,” and galactic ambient-dancing chameleons PINKSHINYULTRABLAST’s lush, polyester-buffed incandescence. “Miserable Miracles.” join surf-twang boardwalk lover-boys CUT WORMS’ glee-club rodeo, “Hollow Ground,” and neo-jazz chamber-punk DANIEL BLUMBERG’s meditative space-jams, “Minus.” for some freakishly specious ennui

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


Benjamin Lazar Davis - Nothing Matters

Benjamin Lazar Davis

Nothing Matters
Record Label: 11A Records
Review published: April 2018

Careful tales prevail in quiet joys and timid misgivings while sensuous serenity bends around pensive acoustic guitars, idyllic bedroom-pop drum-machines and textured electronics, dressing the refreshing, “Nothing,” in adult-sized lullabies peppered with perceptive conjecture. Submitting love-song comedies dipped in articulate wishes, the multi-talented Davis examines candid humanity through playful maypole melodies glazed in infectious recollections, court-jester gestures and mid-tempo mindfulness.






Eternal Summers - Every Day It Feels Like I’m Dying…

Eternal Summers

Every Day It Feels Like I’m Dying…
Record Label: Nevado Music
Review published: April 2018

Bobbing between ballistic and blissful, Eternal Summers keep chrome motors revved against gleaming daydreams with assorted pedal-board novelties groomed for maximum impact. Composed in agile casualness, breezy releases compete with shiny tsunami armies as kaleidoscopic toppers plot leisure teases and cutting comeuppance destroys in coy loyalties, turning, “Dying,” into thriving, conspiring alt-pop righteousness whose shape-shifting riffs grip, lift and sparkle.






Middle Kids - Lost Friends

Middle Kids

Lost Friends
Record Label: Domino Records
Review published: April 2018

Powerchord-forged frustrations linking daily struggles to indignant wisdom, “Lost,” embosses tightly-knitted convictions from tender memories, backing full-throttled choruses with smart, discarded doubts and well-constructed pluck. Old flames claim new alliances as determined mod-rockers Middle Kids mount slippery thoughts to brave refrains soaking in hopeful atonement where humble assumptions swing and jump into soul-baring show-downs, landing indisputable truths onto grinding grooves.






The Sea and Cake - Any Day

The Sea and Cake

Any Day
Record Label: Thrill Jockey
Review published: April 2018

Polished solace follows spacious placement when chilled jangle meets contagious persuasions inside Sea and Cake’s frictionless missions; aloof, bullet-proof teenage symphonies drizzled in gentle, penetrating empathy, deflected affections and heavy-lidded suggestions. Zen jazz-pop send-offs sponsoring rich, white-water rapid tapestries driven home in honed beats, “Day,” sways in rootless musings toasted in glowing harmonic osmosis and molded in mellow, cellophane mind-games.






Iceage - Beyondless

Iceage

Beyondless
Record Label: Matador
Review published: April 2018

Writhing, chopping-block raw wrath unravels in beautiful dilapidated rage. Beaten but undefeated, sloshed in edgy poet-apothecary’s barbaric hypotheses, “Beyondless,” slings strong webs around vigorous collisions. Brandishing brass and bombast to smash molten impotency into brazen punk-crunched burlesque, Denmark’s Iceage’s staged rampages crash overloaded locomotive polemics into full-moon roadhouse blues, carving starving hearts from double-crossed chaos, doomsday revelry and stubborn bluster.



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Quiet Slang - Everything Matters But No One Is Listening

Quiet Slang

Everything Matters But No One Is Listening
Record Label: Polyvimyl
Review published: April 2018

Sharp, biting piano trills lift lofty, hive-minded cellos above poignant, bowery choirs harmonizing in drowsy after-hours confessions while, ‘Everything,” rehashes dashed hopes with well-timed defiance and ragged pathos. Beach Slang’s Alex James’ beautiful reinterpretation of his own work stands as a transformative testament, a daring reassessment and a musical triumph. Catch QS June 14th playing Milwaukee’s Colectivo Coffee’s Back Room.






Final Thoughts

Who’s playing who? Start with psychotropic twang-angels RF SHANNON’s meandering reverb-curious canyons, “Trickster Blues,” wrestle foxy country-goth torch-singer JESS WILLIAMSON’s blues-bruised heartache, “Cosmic Wink,” then sashay onto sinful synth-imagists PHOSPHENE’s sweeping, effervescent, “Find Us Where We’re Hiding,” before encountering peerless British balladeers THE MAGIC NUMBERS’ rumbling underdog-pop, “Outsider,” gung-ho bronchos LA ROSAS’ savory paisley-punk, “Shadow By Your Side,” and celestial thought-wrestler JESSICA RISKER’s magical folk madrigals, “I See You Among the Stars.”  Top it off with nomadic jazz-folk artisan-impresario RYLEY WALKER’s flowering origami-guitar gardens, “Deafman Glance,” and six becomes nine.







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