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Slipped Discs September 2010

Discs you may have missed | by John Noyd

Cas Haley

September often marks a return to routine. Back to work? Plug into SAM PREKOP’s atmospheric automaton odyssey, “Old Punch Card.” Miss the sunshine? Soak up multi-talented RICHARD BARONE’s radiantly raggedy, pop-rock concoction, “Glow.” From CAS HALEY’s soul-inspired reggae, “Connections,” to the spindly symmetry in OVAL’s galvanized electrical experiment, “O,” autumn discs concede and contest routine advancing structurally-minded titles and their anarchist doppelgangers. Deviate from the norm and repeat as needed.

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

Kristin Hersh - Crooked

Kristin Hersh

Record Label:
Review published: August 2010

Mounting electricity rips through, “Crooked,” as acoustic voodoo squalls carved from Hersh’s inscrutably unique dervish curses snake around careening guitars and stun-gun percussion. Irrepressible epiphanies pair punk parables to mountain-music mania, channeling deliberately elliptical folk psychosis with haunting clarity. Available this summer on-line from CASH music, “Crooked,” returns accompanied by a bonus-laden book.

The Clientele - Minotaur

The Clientele

Record Label: Merge Records
Review published: September 2010

A mini-album packed to the gills, from the quasi-classical to the nakedly oratorical, Minotaur,” jumps verbal hurdles with posh indie-pop. Richly descriptive visions pitch open-hearted curve-balls, blue-eyed soul courting memory and dream, woozy musings illuminated in toe-tapping mojo. TC’s craftily re-mastered music hall rock tosses off crisp Britpop swagger saluting fine taste and good breeding.

Fences - Fences


Record Label: Onto Entertainment (ADA)
Review published: September 2010

Bedroom pop wallpapered in weathered regrets and street-fed wisdom, “Fences,” packages unsorted feelings into restless resolution, nimble pickin’ and waltzing melodies whose casual insight and gifted riffs bolster roller-coaster emotions through stoic brokered perspective. Personable and persuasive, Fences’ jaunty melancholy and placid happiness nestle together befriended by quietly spry lyrics, sly hooks and humble brilliance.

(2057) ViewsPermalinkFences Website

Interpol - Interpol


Record Label: Matador
Review published: September 2010

Stripped down to a sleek threesome, “Interpol,” still thinks big. Gloating in slow reproaches cloaked in dark velvet tensions and cast-iron cadence, brawny sonic monuments get lubricated in withering glances and sinister insect rhythms. Fashionably dramatic twists fortify Interpol’s ultra-cool odes simmering in insurgency – hatching glam-rock plots born from suspicious minds, tortured desires and lurking malevolence.

(1752) ViewsPermalinkInterpol WebsiteInterpol Wiki

Underworld - Barking


Record Label: OM Records
Review published: September 2010

First-time use of outside producers, Underworld’s sixth disc remains indelibly true to its trance-disco roots. Corridors of escalating beats, sweetened in hip-swiveling jangle and arena-sized synthesizers, helicopter to rapturous pneumatic satisfaction. Tentatively menacing, “Barking,” revel in spotlight stares cast from lingering sizzle; steamy cybernetic sequences teasing secret night-time daydreams between pounding downtown declarations exuding cavalier club-hopping confidence.

(1833) ViewsPermalinkUnderworld WebsiteUnderworld Wiki

The Young Scamels - Tempest

The Young Scamels

Record Label: File 13
Review published: September 2010

Music composed for the Shakespeare play; “Tempest,” dispenses magical moods, funneling modest solace and worldly wonder into eloquent sentiments. Songs, soliloquies and spell-binding post-rock hover over swarming strings, quizzical cymbals and twittering marimbas as wordless pursuits cavort and consort around ectoplasmic incantations. Lending a gentle tenderness, TYS’s spirited instrumentals devise, confide and mesmerize.

(2066) ViewsPermalinkThe Young Scamels Website

Final Thoughts

Can’t see the forest for the trees? No problem. Nibble on tasty electro-folk innovators THE ACORN’s cultivated jam-based Americana-crunk opus, “No Ghosts,” and then harvest psychedelic chamber-pop mischief-makers TALLEST TREES’ marvelous musical menagerie, “The Ostrich or the Lark.” Plant yourself beside smart, emo-rocking romanticists THE LONELY FOREST’s flying, driving self-titled EP before finally navigating classically-bent folk revisionists LOST IN THE TREES’ vast and lovely, “All Alone in an Empty House.”

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