Slipped Discs

Ola Podrida - Ghosts Go Blind

Gliding in driving narratives whose open-book outlooks mix respect with regret and wisdom within suspicions, front-man David Wingo’s soundtrack background bestows the band’s cascading acoustics and surging dynamics a hard-won charm of passive tragedies cast from transient romantics and kind-hearted martyrs. Noble electric-folk supported by spiraling highway poetry, “Blind,” unwinds in shadowy wind-swept tempests. OP plays Madison’s Frequency May 12th.

Angel Olsen - Burn Your Fire For No Witness

Bruised crooning draped around unfettered coffee-shop garage-rock, “Burn,” churns and spurns with a raw, jagged backdrop of unvarnished electricity surging through crackling guitars and curdling words; unapologetic suggestions lapping brimstone ballads as haunted hearts feast beneath quivering lips and furrowed brows. Poised between salvaged salvation and tenuous redemption Olsen’s dreamy bohemian turns warrior-poet, courting sandpaper rampages and hypnotic rag-doll revenge. Angel plays Madison’s Revelry Fest May 3rd.

The Orange Peels - Begin the Begone

Sun-soaked West Coast power-pop meets rock-geeked apple-cheeked psychedelia inside TOP’s old-school revolutionaries where breath-taking weightlessness spreads from heady experiments to gutsy productions. Joyful orchestral cleverness converge in sharp, harmonic commerce and sentimental effervescence as, “Begone,” spawns smooth groovy tunes; shiny compositions whose tie-dyed jangle wears synth-pop spangle and six-string symphonies glistening in singer-songwriter petitions ride candy-coated rollercoasters in radio-friendly memories.

On An On - And The Wave Has Two Sides

Plush head-rush luxury from Minneapolis’ post-modern dance-rockers bathe graceful ravers in persuasive New Wave whose glittery synths, bright guitars and clipped rhythms crackle in hook-happy passion. A fleeting weekend panacea festering in restless affections and teeming in steam-cleaned daydreams, “Wave,” craves physical liberation from emotional prisons, bursting in neon effervescence from micro-processed caresses doling out cool rebukes inside romantic spandex.

Ozere - Finding Anyplace

Evoking global chamber-folk beneath a lively mixture of crisp traditions, Ozere’s classically-trained musicians’ adventurous jigs, formal pastorals and deft two-steps serve harvest feasts on Sunday linen. Brisk mandolin and wishful violin mingle in cordial joys spiked with swift mischief, spinning, “Anyplace,” with dizzy gypsy pizzicato to twirl proper foxtrot debutantes besides diverting parlor-game flirts with parlayed pirouettes and unpretentious poise.

Aoife O'Donovan - In The Magic Hour

Smart and languid, rich and fluid, O’Donovan captains swift literate dissertations navigating renegade chamber-folk arrangements with supple couplets mustering robust poetry. Pithy descriptions slipped in winsome acoustic rhythms and heartbeat-sweetened bop, “Magic,” bundles sharp departures within swirling mermaid currents, wrapping eagle-eye observations around resonant musical tributaries rooted in honest feeling. Aoife returns to Wisconsin March 31st playing Stoughton Opera House.

Jennifer O'Connor - Surface Noise

Coated in dark sparkles and slippery ripples, the calm, self-assured, “Surface,” circles common ground with a keen eye and steady hand commanding savvy spins on contemporary opinions to spawn sing-song conversations within warm folk-pop poetry. Radiating extra-special perspectives with well-rehearsed purpose, O’Connor crafts casual parables through economic thought as savory displays of uncontested impressions negotiate gentle questioning beneath matter-of-fact compassion.

Cullen Omori - New Misery

Effervescent sketches plastered in pillowed reverb and psychotropic commotion, “Misery,” rumbles with sumptuous alt-pop wonder, manufacturing haunted Phil Spector wet-dreams lacquered in heart-breaking infatuations. Streaming tear-stained refrains with prepubescent chemistry while drenching heaven-sent intentions in lollipop optimism, Omori layers tasty two-ply sighs over sugar-coated keyboards and triple-decker guitars. The former Smith Western frontman hits Madison’s High Noon Saloon March 25th.

Oh Pep! - Stadium Cake

Upending convention in friendly misdirection, “Stadium,” stages cagey parlor-pop in lofty flash-mob sophistry, scrubbing subtle rebuttals and compassionate acts into smart, propulsive melodies. The smooth Australian duo’s catchy macro-ballads pledge tender confections to cosmopolitan confessions. Prying sly prizes from unsuspecting connections, Oh Pep’s dazzling cabaret highlights life’s small victories, personal triumphs and common failings in giddy rhythms and perky proclamations.

Agnes Obel - Citizen of Glass

Giving way to creative play inside courtly orchestrations, Obel’s spellbinding compositions refine micro-cosmic operas; teased glee pondering haunted sonnets while cultivated impulsiveness hide behind lofty subplots.  Feng shui dreams executed in soft Viennese elegance bending tender melancholy around fleeting boutique-pop, “Glass,” waxes with sensual specters donning sylvan slippers as scattered pageants gathered under luminous moons skim and swim on hummingbird-wings.

The Orwells - Terrible Human Beings

Gunpowder prowlers scarred in charred blues-rock scorchers and hot-wired wise-guy tirades, “Terrible,” bangs and boogies in snarky bar-room blarney. Partnered in tarnished guitar-slinger garnishes and slathered in wicked pithy wordplay, The Orwells’ gloriously sordid shenanigans pack feisty double-barreled rapture into cackling anthem-tantrum magic. Tireless renegades on record and on stage, the dizzying quintet swings into Milwaukee’s The Rave March 17th.

Angel Olsen - Phases

A compilation of demos, b-sides and unreleased songs, “Phases,” blazes in old-school croons; unvarnished rag-doll pop baptized in smoky Appalachian prayers and roasted over plugged-in indie-folk. A spiritual will manifested in swamp-gospel taunts from broken-hearted ghosts infiltrating tear-choked letters home; Olsen’s emotions whittle things to a fine, almost fragile point, presenting graveside love-songs to entice stony testimony from twilight revivals.

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