Slipped Discs

The Mommyheads - Soundtrack to the World’s End

Grim wits sneak silver-lining shine to doomsday gloom as, “End,” renders tender amends spiked in savvy arena-rock theatrics and haughty power-pop mockery; gripping last-minute sympathies cautioning hopeful atonements with tipping-point disappointments. Actors on a burning stage huddled around select recollections, The Mommyheads cast one-act ballads encompassing compassionate nostalgia, flabbergasted outrage and unsettling regrets into gorgeous bittersweet journeys down dead-end streets.

Kelly Moran - Ultraviolet

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.

Michele Mercure - Beside Herself

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.

Majken - Young Believer

Curious coronations formed from welcoming spells and majestic blessings, “Young Believer,” weaves enchanted piano, heavenly choirs and tugboat brass into nimble chamber-pop ballads swept up in dreamy divination. Swedish chanteuse, life student and self-taught harpist, Majken parlays naked fates against lush repercussions, posing both knowing and innocent while fashioning a mystical balance between benevolent polyphonic melancholy and tentatively centered reverie.

Mike Adams At His Honest Weight - There Is No Feeling Better

Gentle intentions washed in romantic nostalgia and spun-dried with beat-driven finishes and hook-happy after-thoughts, “Feeling,” reels in love-sick folk-rock, adrift in half-forgiven bygones, soul-mate daydreams and self-indulgent sympathies.  Wrapped in casual harmonies, subtle bluster and spangled jangle, the exquisite MAAHHW riff on near-misses and forever-kisses to make persuasive vacations for world-weary peers; forward-facing escapes into trusted tropes and free-floating anecdotes.

Moonsign - Okay You First

Idiosyncratic dispatches scattered among huggable house, organic shape-shifting refrains and optimistic bridges, Moonsign’s symphonic flocks dot percussive pre-dawn clusters enveloping soft synth-pop centers. Compassionate sci-fi ballads and epic odes to growth hold ecological and interpersonal implications, giving, “First,” a fistful of hopeful musical utopias cradled in faith, lined with calm ethereal choruses while placid interstellar harmonies announce vigilant wind-tossed prophecies.

Modern Nature - How to Live

Combining the creative forces behind Ultimate Painting and Beak, Modern Nature deploys calm post-rock opuses, embroidered maps hosting python sax and whispers draped over ubiquitous bass swimming in rambling trance; jazz-dappled appetizers bobbing in Krautrock punchbowls. A fluid, nuanced fairy-tale, “Live,” lives in backwater bliss, minimalist Zen head-trips circling feudal fields and pagan forests with unflinching mystery and intuitive moods.

Mermaidens - Look Me In The Eye

Cryptic silhouettes dancing in choreographed collapse, “Eye,” rides calculated landslides, conspiring in spiraling riff-driven narcolepsy with shadow-rock cliff-hangers roaring through murky, mascara-laden psychedelia and furious stiletto-pedaled shoegaze tracing pinpoint precision around drowsy indecision. Bubbling in subtle eruptions and dizzy indulgences, the tide-turning Mermaidens’ dynamic calamities yield surprisingly lucid moods from anxious, contagious beats, swirling minor-key revelry and cosmic pole-vaulted free-falls.

Anna Meredith - FIBS

Punctual pop whose splashy neo-classical maelstroms fuse Broadway bravado to scorching film-scores for cyber-phantom ear-candy, Meredith’s immaculate factories spew algorithmic symphonies gifted in ripped rock riffs, space-age whimsy and ironic art-pop homilies. The glib, “FIBS,” digs, wiggles and flies, defying, confiding and pacifying, rendering frenzied crescendos and sweetening synthetic beats to baffle in playful clatter and delight in daredevil feats. 

Majjin Boo - Go Between

Jet-fueled power-pop dropping top-of-the-lungs math-rock onto weighty emotional cave-ins from bolstered reflex-injected explosions, Majjin Boo wrestle bereft regrets with heft and sweat; swift and dominant stalkers seeking chain lightning among machine-gun thunder. Trampoline fiends trading laser riffs fitted into start-stop blockbusters, “Between,” turn on the high beams careening over tire-squealing prog whose cruise-missile epistles launch conscious taunts for razor-sharp romps.

Marie Miller - Little Dreams

Wise to the world, “Little,” kindles nimble Americana flickering in candle-lit arrangements for neighborly banquets where trusted country roots wear their Sunday best.  Galloping gracefully over tender reflections and unresolved promises, Miller evokes heartfelt folk buffed to a gentle, sophisticated luster; authentic sentiments wrapped in crackling tapestries weaving banjo, mandolin and guitar between velvet strings, desolate melodies and church-yard harmonies.

Moaning - Uneasy Laughter

Dark, manic phantoms dragged down dance-floor drainpipes, Moaning shapes delicate elegance over monumental New Wave anxiety; swirling, searching specters caught in restless dread’s headlights, resisting dismissive disappointments and withstanding abandoned grandeur. Daring escapes chased by runaway synths, “Uneasy,” seizes subdued confusion caught in calculated rhythms, subverted verse and mountain-king chords while polite moonlight shines on sleek beasts wrestling misdirected intentions.

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