Slipped Discs

Wooden Shjips - Back to Land

Blues-based jail-breaks grind out laid-back attacks against hallucinogenic epidemics as San Francisco’s WS barrel past sturdy curves; casually balancing surging organ, bobbing bass and gnarled guitar for ultra-groovy moodiness whose shady serenades produce sand-blasted ballads from interstellar cellars. Shrouded in clouded visions and swirling jams, “Land,” sandwiches droning momentum inside neuron-firing solos eliciting electric surf-rock mojo from shocking gothic soul.

Warm Soda - Young Reckless Hearts

Thundering bubblegum conundrums tumble from sly reprisals, elevating, “Hearts,” from re-bottled power-pop to ingenious glam-rock rip-offs whose fizzy lo-fi wizardry tackles garage-god swagger in driving dime-store rhymes, race-track riffs and toasted locomotives for sugar-coated commotion sure to dissolve upon impact and leave a sweet taste in the aftermath. Lovesick misfits, Warm Soda resurrect restless petulance fueled by burning, yearning sentiments.

Withered Hand - New Gods

Casually compassionate, disseminating infectious revelations in vagabond sing-alongs, Scotland’s wise and enterprising Withered Hand manages to candidly span lovelorn storms with meditative playfulness. Rambling folk jangle and zesty zydeco mojo makes for tuneful ruminations wound around homespun hope and pop-rock sounds as the beautifully exuberant and tenderly Dickensian, “Gods,” lodges its chronic honesty in rich, pithy passages and boisterous choruses

Wye Oak - Shriek

Topped in posh synth-pop palpitations, cozy knowing vocals and caramel carousel keyboards, “Shriek,” peaks, tweaks and soars; carried by daydream queens hungry for shadows strapped to race-track steeds with deep-shag saddles. Equal parts alluring coercion and dangerous equation, the willfully wiry Wye Oak evokes entrancing dance-floor enchantments within gurgling cyber-circus vertigo. The Baltimore duo headlines Milwaukee’s Turner Hall May 14th.

White Fence - To the Recently Found Innocent

A preening bohemian swaddled in caterwauling twang, uncurbed reverb and delicate psychedelics, White Fences’ Tim Presley blazes deeply between heady reverie and rabbit-hole reality. Dripping in mythical ripples rinsed in renaissance ruffles, “Innocent,” cements White Fences’ heightened hippie-rock senses; jamming in jagged cosmic jangle while groping dislocated ghosts and deconstructing cock-eyed looking-glass blues through sparkled chakras dressed in electric petticoats.

The Wind and The Wave - From The Wreckage

Gripping cynicism washed in high-minded harmony and waxing nostalgia, “Wreckage,” wrestles desert divas from defensive confessions. Edgy treasures cloaked in smokin’ hot subplots, Texans Dwight Baker and Patricia Lynn rage and coo in a swaying buffet of alt-country canters and folk-pop trots where tough marries fluff with strong-worded flirts skirting sizzling pistol-whipped shuffles, heartbroken cowboy ballads and stern, spurned barn-burners.

Wand - 1000 Days

Maneuvering through psycho-groovy rock-boogie, “1000,” wows and plows around wavy amazements, constructing hippie-conscripted symphonies sifting trippy visions between grungy fuzz lunging in gurgling fury and flanged folk-jams prancing in cosmic sophistry. Exchanging zany daintiness for thunder-struck ruckus, Wand’s discombobulated sages spawn mythic misfits, whipping splendid mind-bending intentions into head-banging prog-operas where electric narcolepsy descends, bends and avenges with ragged imaginations.

Whiskerman - Nomad

Zapped in looking-glass flash, “Nomad,” wanders wantonly with peyote-folk panache searching among turbulent skyrocket births cleansed in reckless treks for posh cosmic jaunts where woozy strings wring galactic grit from drowsy gospel-rock riffs. Rootless suitors pursuing human connections, Whiskerman’s stately faith in vagabond escapes pits triple-dipped paisley against country-fried revivals to fuel bluesy spirals sweeping symphonic cascades over cathartic harmonics.

Wintersleep - The Great Detachment

Buffeted in brawny downbeats, arc-welded hooks and driving rhymes, Wintersleep’s wide-awake pop-rock earthquakes ride galloping ballads with strenuous tendencies into cruise-controlled crusades. Recorded live in the studio, “Detachment,” taps into an inexhaustible reservoir of palpitating percussion rushing over expansive working-man landscapes to brew soothing communities where toiling joy joins pure, earnest urgency for restless manifest destinies carved from hardy camaraderie.

Ben Watt - Fever Dream

Meditative jazz-folk sparking cathartic bargains through lyrical hindsight smoldering in glowing rhetoric, Watts’ ruminating gait and understated majesty fosters placid magic casting subtle mercy alongside quiet grace and fond bygones. Bottomless thoughts voiced in soft-spoken emotions, the mahogany melancholy beneath, “Fever,” feeds nameless longing through slow-boiled solos riding gentle reverence for life’s inventories, sorting redemptive memories into semi-fictional rescue missions. 

Woods - City Sun Eater in the River of Light

Hippie-dipped alt-pop constructed from snakey paisley voodoo, WOODS’ swinging indie-rock releases mountain stream micro-jams tapping into an upbeat bohemia scampering in soulful falsetto and Bakersfield twang. Brass injections punctuating jangle-infused ska, “Eater,” seeks Cheshire cat cat-naps through skulking psychedelic-boogie, capturing secret-agent daydreams in sunshine-primed get-togethers. The blissful quintet play Madison’s High Noon Saloon with baroque-folk retro-rockers Ultimate Painting April 25th

Tony Joe White - Rain Crow

Memory’s embers glowing in smoky blues infused with sweltering Delta boogie, gritty sidewinder guitar and flinty gravel-voiced stories; “Crow,” rides hallowed shadows in rampant drum-circle thunder, rasping and grasping in circling urges and menacing contention. Desperate for an exorcist, White’s stony moments roll locomotive notions past devilish testaments, driving feverish fandangos spiked in spell-binding iron-clad tragedies railing against unwavering fates.

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