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  • Slipped Discs November 2011

    Discs You May Have Missed
    by John Noyd

    Electric Six

    Electric Six

    Initial Thoughts

    Hand it to November. Body bits litter late autumn’s landscape from sultry cyber-pop stalkers THE GOOD NATURED’s seductively muscular mini-album, “Skeleton,”  to kick-ass Detroit disco-rockers ELECTRIC SIX’s delectably gnarly beat-box moxie, “Heartbeats and Brainwaves/” Keep a close eye on corrosive caballeros WE WERE PROMISED JETPACKS’ cascading waves overtaking squelched meltdowns, “In the Pit of the Stomach,” while digesting the anniversary compilation, “Fully Bearded: 15 Years of Tommy Touch in Dub.”


    Disc Reviews


    The Dø - Both Ways Open Jaws

    The Dø - Both Ways Open Jaws

    The Dø

    Album title: Both Ways Open Jaws
    Record Label: Six Degrees

    Assembling trembling, tongue-twisting tempos this pair of European collaborators crafts squealing helium realism juggling pixilated perspectives around cartoon calliopes and woozy hallucinogenic melodies. Fusing quaint upbeat joy to foxy rockin’ swagger, jazzy spell-binding finery and hippie-rock kaleidoscopes, Jaws,” never over-indulges, soliciting mysteries with innocent consistency, playfully waylaying conventional expectations in a frothy broth of bewitching keyboard carnivals performing enchanting arabesques.

    (2898) Page Views

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    John Wesley Harding - The Sound of his own Voice

    John Wesley Harding - The Sound of his own Voice

    John Wesley Harding

    Album title: The Sound of his own Voice
    Record Label: Yep Roc

    Giddy literacy enlivens the already lively folk-pop mockery and jester-peppered cheer, “Voice,” cradles modern-day life-lessons lined with ticklishly articulate irony and sly subtext. A toastmaster backed by an all-star cast culled from R.E.M. and the Decemberists, Harding illustrates, extrapolates and occasionally speculates, dispensing battling narrators, bantering agitators and slanted sociology in neatly-packaged hooks wrapped around witty novellas harboring intellectual revenge.

    (1766) Page Views

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    Treefight for Sunlight - A Collection of Vibrations for your Skull

    Treefight for Sunlight - A Collection of Vibrations for your Skull

    Treefight for Sunlight

    Album title: A Collection of Vibrations for your Skull
    Record Label: Friendly Fire

    Brimming with spinning day-glo piano runs, trippy choirboy whimsy and tumbling pop-rock glee, TFS’s cartwheel zeal manifests youthful truths into carefree catalysts; magical infatuations spawning epic fascinations, arm-stretching sections nestling plush harmonies over Danish retro-psychedelia. Crashing clouds of angelic after-thoughts led by radiant sages, “Vibrations,” bounces merrily knitting rainbow ballets stoked in action-packed happiness, shimmering hymns kicking in quivering climaxes

    (1917) Page Views

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    Gauntlet Hair - Gauntlet Hair

    Gauntlet Hair - Gauntlet Hair

    Gauntlet Hair

    Album title: Gauntlet Hair
    Record Label: Dead Oceans

    Strafed in hyperbolic claustrophobia, mashed clattering and cataclysmic metaphysics, Gauntlet Hair’s groovy psycho-swampy rock resonates in unchained jangle bouncing soundly around syncopated reverb and euphoric Morlock melodies. Jungle-punk and soul-blues influences catapult the Chicago duo’s wind-tattered caverns through avalanche-managed planets. “Gauntlet Hair,” grows freefall cacophony for cosmic canvases, scathing, raving romper room operas drenched in glorious noise and industrial ecstasy

    (2004) Page Views

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    Jonathan Coulton - Artificial Heart

    Jonathan Coulton - Artificial Heart

    Jonathan Coulton

    Album title: Artificial Heart
    Record Label: Jocoserious

    Smug, scrubbed and lovingly nurturing slick, swift charisma plus warm, unconstrained humanity, Coulton’s cajoling polemics pitch snickering curveballs, off-beat promises inside anti-hero overtures. Produced by TMBG’s John Flansburgh with vocal contributions from Suzanne Vega, John Roderick and Sara Quinn, “Artificial,” pumps out effortless guitar-looped waltzes, punchy New Wave wing-dings and buffed studio-savvy ballads, successfully launching a dazzling, sugar-coated geek-pop cabaret.

    (1707) Page Views

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    The Loom - Teeth

    The Loom - Teeth

    The Loom

    Album title: Teeth
    Record Label: Crossbill Records

    Bravely wavering between well-heeled alt-rock squalor and rustic murder-ballad pageantry, “Teeth,” embraces embroidered warrior voyages. Swooning in musical courtship, admonished sonics stir sea-worthy furies for elegantly tweaked chamber-folk fevers. The Loom’s hushed rustler’s rhetoric and wild-eyed folk-revival fosters sprawling banjo to brass passages, rip-roaring chorales built from war-torn madrigals reaping bonfire finales. The Brooklyn quintet plays UW’s Rathskellar November 12th.

    (1891) Page Views

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    Final Thoughts

    Besides strolling hobos CAVEMAN’s shaggy psycho-folk quagmire, “CoCo Beware,” para-military noise-pop synth-surfers TEETH’s insolent, “Whatever,” and wide-eyed punk-rockers GIRL IN A COMA’s inescapable, “Exits & All the Rest,” corpulent performances continue.  Slip into the skin of electro-acoustic rhythmic minimalists BRANDT BRAUER FRICK ENSEMBLE’s deconstructed post-modern jazz brain-candy, “Mr.. Machine,” then ride MARCHFOURTH MARCHING BAND’s funky summit of stone-cold soul, bubbling ska and sizzling R&B, “Magnificent Beast.”  Finally, dissect thrilling, trilling indie-rock conquerors PEGGY SUE’s non-traditional folk-tapestry trajectories, “Acrobats,” and whispering cinematic specters STILL CORNERS’ twilight-tinted gossamer, “Creatures of an Hour.”