Slipped Discs

Breathe Owl Breathe - Magic Central

Blissfully breezy, B.O.B.‘s fluid musings sly rhymes and placid tactics combine sophisticated kinderpop to whimsical chamber-folk. Ballads of benevolent sentiment happily waxing philosophic, “Central,” sneaks heartbeats between light-hearted lullabies leisurely weaving intricate sympathies from nimble narratives; encouraging enticements tinged with Cuban rumbas, timid tangos and tottering waltzes. B.O.B. plays Milwaukee’s Cactus Club Nov. 9th and Madison’s High Noon Nov 10th.

Over the Rhine - The Long Surrender

Brewed in bluesy benevolence, congregating cadence and well-furnished skirmishes, OTR’s regal roots, melancholy melodies and majestic sensitivity exude moody authenticity. Dressed in champagne piano and baptized dobro, sad sax and rumbling drums, “Surrender,” renders parched prairie prayers inside smoldering torch songs, wanton folk-jazz cabaret illuminating flirty, hickory-flavored occasions The Ohio husband and wife duo play Madison’s Majestic Theater April 9th

Southeast Engine - Canary

Penitent and persevering, rowdy and reverent, SEE’s gurgling Wurlitzers and Delta-bound brass rile rustic ruckus for relapsed travails, electrified revivalists fronting frontier racketeers, recasting tragic burdens into grizzled, gratifying honky-tonk. A ragged tabernacle, “Canary,” canvasses unflappable affirmations etched in mournful cornfields, barnyard brimstone and boardwalk morality; rousing rust belt ballads conjuring coal mines and cold spells, bad luck and love-sickness.

The Wooden Birds - Two Matchsticks

American Analog Set’s Andrew Kenny’s new band retains AAS’s laidback outlook compiling crisp wisdom inside colorful cooing and modest acoustic musings. Cozy, folk-pop breeziness fortified by shimmering marimbas, soft strumming and horse-drawn rhythms, “Matchsticks,” glows in deceptively demure assurances churning patient complacence from twilight insights and lively shyness, inviting politeness channeling sly, bouncy foxtrots, cantering ballads dispensing love-sick riffs .

Brown Bird - Salt for Salt

Somber and sensual, brisk gypsy jigs saw bluesy two-steps and woodsy rocking-chair tattletales conjuring back-porch baptisms from sawdust dance-floors. The East Coast duo’s raspy pluck, rosin-heavy flights and twisted tempos season blackwater stomps. Boosted by devilish bravado, “Salt,” bows and curtsey, bone-thin and thirsty, packing galloping insights into gossip-bound ghost stories, wily waltzes where goblin gauchos prance, scamper and canter.

Robin Bacior - Rest Our Wings

Darting flocks of fleeting thoughts trot, wobble and swoon, “Wings,” brings refreshing delicacy to nomadic sadness. Reliable but pliable styles plucked from jazz, country and pop lift Bacior’s lilting bicoastal moments through rollicking waltzes, shy ballads and prancing chamber-folk flights. Swaying tempos surge and swell like woozy ocean waves rolling over crinoline-brushed piano, frisky gypsy strings and preening acoustic guitar.

Cass McCombs - Humor Risk

Articulating repressed obsessions and quiet rivalry through cool rebukes and questioning hesitations, “Humor,” exudes sensitive everyman rock wrapping under-dressed quests and bare-knuckled troubles in swinging sixties mixes and loner-poet parcels. A slightly lighter companion to last April’s gloom-infused, “Wit’s End,” McCombs’ prolific mischief crushes heartfelt grit into folk-rock ruminations. Melancholy’s soft-spoken apostle, Cass plays Madison’s High Noon Saloon January 30th

Jennifer O'Connor - I Want What You Want

Solemn problems cast in modestly frolicking waltzes, direct declarations trimmed in simmering sentiments and cordial worries; lyrical sharp-shooter O’Connor monitors life’s knotted plots in plain-spoken hopes, discerning turns and slippery commitments. Distant but determined, guarded but genuine, “Want,” prompts buoyant voyages past unsettled passengers clutching unsorted baggage, focused bouquets of self-guided providence providing cautious folk-pop solace and pensive indie-rock tenderness.

Nanci Griffith - Intersection

Uncovering long-forgotten gems and producing rousing originals, feisty folk-singer, troubadour humanist and starry-eyed archivist Griffith reflects pro-actively, learning from spurned lovers and turning everyday adversity into affirming portrayals of grass-roots salvation. Respect and regret mingle in sing-along story-songs strong in sympathy, social conscience and down-trodden decency, “Intersection,” questions countless doubts and nurtures worthy mercies, touching lives and trusting in people.

Marissa Nadler - The Sister

Trolling ghosts strummed from courtyard guitars lifted in slightly surreal tranquility, Nadler’s ephemeral gems shepard rainy-day phrases roasted over fond remembrance and hung under widow silhouettes; wind-tossed blossoms simmering in minstrel eloquence, seasoned in spell-binding ambience. The plucked, struck and quietly corrupted performances cavort in post-modern folk as stately sorceresses cast, “Sister,” in whispering steel-guitar sympathies and supportive keyboard choirs.

Neneh Cherry and the Thing - The Cherry Thing

A groovy Medusa, Cherry reworks the Stooges, Suicide, Ornette Coleman and her father’s fringe binges in avant-garde decisions. Conjuring cathartic visions via roller-coaster devotions, “Thing,” yearns for complex pleasures, exhuming the brutal and the beautiful, expressing turbulent worries through free jazz fevers, braying sax, bullish bass and Tommy-gun drums; bold, controlling emotions wrapped tight aching to embrace the world.

Kelly Hogan - I Like to Keep Myself in Pain

Embodying doe-eye survivors and embittered vixens, Hogan tackles Texas kickers glazed in café academics and honky-tonk philosophy rousing gospel-blues wearing cowboy boots, sneakers and high heels, “Pain,”: hosts smoky tones inside jukebox bop, Bubbly condolences hug observant mercies, funky country confessions stocked in battered kindnesses and wronged romance supply supple scenarios fueling dusky Delta voodoo, post-fiesta heartache and organ-driven R&B. 

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