Today is: Thursday November 15, 2018 | Status: Under Re-development | Version 2.99.03

Slipped Discs November 2018

Discs you may have missed | by John Noyd

Laura Jane Grace & The Devouring Mothers

Doubling down, November albums overindulge. Be it Fight Club rock-vipers LAURA JANE GRACE & THE DEVOURING MOTHERS’ tart, “Bought to Rot,” or court-jester rebels FROG’s ironic garage-rock Americana, “Whatever We Probably Already Had It,” the season reaps extremes. Max out to well-traversed dervishes DEAD CAN DANCE’s ravishing paradises, “Dionysus,” dawn-breaking CELER’s deep-ocean chill, “Memory Repetitions,” and musical Hydra ED HARCOURT’s pensive piano-powered, “Beyond the End.” Either way, don’t stop now.

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

Rosanne Cash - She Remembers Everything

Rosanne Cash

She Remembers Everything
Record Label: Blue Note
Review published: October 2018

Bittersweet steel-guitar ripples among brushed snare and aching bass; elegant apprehension weaves between sad-ballad resolutions and strong story-teller’s intrigue as woke folk royalty Cash pours her entire being into every self-reflected moment. Personal myths rising from campfire hymnals, “Everything,” connects hearts and minds to humane campaigns with subtle orchestration, clear lyrics and perceptive metaphors shining sober hope onto solemn problems.

Love Jerks - Million Movies

Love Jerks

Million Movies
Record Label: self-release
Review published: October 2018

Spry lo-fi rock operettas culled from melodramatic matinees and real-life romance, “Movies,” croon and schmooze in heavy-petting show-stoppers, jiving to hoodwinked hullabaloos, skinny-tie shin-digs and Friday-night house-parties. Fun-loving punks crashing renegade serenades into hopped-up teen anthems, Love Jerks cruise in gear boy-girl face-offs, retro-swinging kitsch dishing electric-blue doo-wop and gushing New Wave hustle; savvy finales crafted for ravenous off-Broadway cabaret.

(73) ViewsPermalinkLove Jerks Website

Kelly Moran - Ultraviolet

Kelly Moran

Record Label: Warp Records
Review published: October 2018

Sound-cluster sculptor and aural animator, Moran’s lively style stacks calculated cacophony into climatic happenstance; toppling hops overtaking rippling skips while brisk, exponential melodies engulf waterfall geometry married to fearlessly serial hysteria. A wonder and delight, “Ultraviolet,” negotiates, infatuates and retaliates with keyboard-driven expeditions decorated in gamelan tail-spins and divine pachinko symmetry, sorting assorted contorted choreography into lovely, enchanting and ticklish.

(37) ViewsPermalinkKelly Moran Website

Public Memory - Demolition

Public Memory

Record Label: felte
Review published: October 2018

Velvet neon streaked across galvanized clockwork, “Demolition,” blends ancient anchorless pangs into precise rhythmic devices for luscious zig-zag schematics infiltrating cool sonic fogs. Submitting shimmering images sinking in impoverished economy, billowing in silhouettes and tangled in directionless dimensions, Public Memory interjects fishbowl ghosts broaching cybernetic etiquette with mobile claustrophobia,  lost, vacuum-sealed lightning rods smoldering under stainless glazes and frosty blue-prints. 

(40) ViewsPermalinkPublic Memory Website

Gabby's World - Beast on Beast

Gabby's World

Beast on Beast
Record Label: Yellow K Records
Review published: October 2018

Whip-smart, happy pop swirled in giddy indie-rock, “Beast,” reaches for the stars and grabs brass rings; circling worry with confident promises where friendly suggestions slide down carefree beats riding rainbow highways paved in pastel harmonies. Immersed in day-glo open disclosure and silver-lined kindness, the former Eskimeaux’s reincarnated Gabby’s World spins in dizzy, twist and shout welcomes and genuine, tender good-byes.

(55) ViewsPermalinkGabby's World Website

Michele Mercure - Beside Herself

Michele Mercure

Beside Herself
Record Label: RVNG Intl
Review published: October 2018

Basement arcades whose blissful thrills blossom in primitive synchronicity, Mercure’s overdue anthology trips, flips and unfolds vintage synths and tampered samples marching down cyber-dream construction-sites armed with single-minded grooves chasing funky fire-flies among factory ruins. Surreal symphonies integrating mouse-trap Krautrock, “Herself,” chooses eerie palettes to compose haunting compositions for dances both stiff and spacey, natural and mechanical, flawless and accidental.

(55) ViewsPermalinkMichele Mercure Website

Final Thoughts

Between pervasive persuaders VESSELS’ schizophrenic art-rock renaissance, “Queen of the Golden Dogs,” fashionably impassioned HOLY KNIVES’ debonair film-noir, “Year of the Black Dog,” and mind-reeling indie-chameleon ROSE DROLL’s, multi-tasking soft-sell groove-raps, “Your Dog,” November unleashes packs of musical mutts and symphonic mongrels. Add refined canine goldmines, expansive fantasist EIKO ISHIBASHI serene suites, “The Dream My Bones Dream,” plus string nymphs and ocean angels MEG BAIRD AND MARY LATTIMORE’s magnificent astral-folk, “Ghost Forests,” then pepper with shaggy hagglers TOMORROW’S TULIPS rainy-day jangle, “Harnessed To Flesh”  and it’s a dog’s life indeed.

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