Slipped Discs

Robin Bacior - Water Dreams

Unfathomable phantoms rush languid tangos teeming in viscous vitality, fluctuating cadence adrift in distant whispers; “Water,” restlessly mimics liquid’s shape-shifting abilities. Darting in dappled happiness and diving beneath churning turbulence, zigzagged chamber-jazz washes over soulful folk and sultry pop as singer-pianist Bacior’s well-played mermaid calls through supple cello-soaked emotions, subtly indulgent; swirling in luxurious bell-jar urges immersed in murky impermanence.

Tom Brosseau - Perfect Abandon

Accompanied by his three-piece band and recording with a single microphone, sly, eye-twinkling troubadour Brosseau captures character-inhabiting sagas, tenderly spreading good-natured country-blues in crystal-clear cadence and disarming calm. Sweet, sleepy keepsakes tumbling from folksy podiums with minimal fuss, “Perfect,” births cozy poems detailing love’s errant struggles and life’s hard-won discoveries; hand-picked deliverance trimmed in ragtime rhythms strummed from beguiling smiles.

Joan Shelley - Over and Even

Spinning literate yarns into consoling poetry, Shelley’s rich folk voice and finger-picked guitars coax articulate descriptions from nurtured words whose timeless burdens carry motherly comforts inside gentle swells and sparse harmonies. Threaded and feathered in luminous acoustics and patient engagements, “Even,” weaves placid ballads into dashing tapestries hemmed in trembling assurance and wind-swept acceptance, sealing well-heeled feelings within hand-carved art.

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.

Alba's Edge - Run to Fly

Tender touches flushed in cantering fantasies corral galloping rallies into tranquil sanctuaries filled with mingling traditions sprinkled in casual pizzazz from fine-tuned moves; the resplendent, “Fly,” ties silky Celtic-jazz passages to sizzling midnight jigs flitting in firefly nose-dives and grasshopper tail-spins. Parading, persuading and evading, Scotland’s exuberant Afro-Cuban fusionists, Alba’s Edge soars in intrepid pep steeped in nimble sunlit steps.

Angelo De Augustine - Swim Inside the Moon

Tranquil, woodshed-weathered feather-bed folk, “Moon,” dances in spring-creek rambles where finger-picking mastery splashed in nimble divinity captures anointed counterpoint sprinkled with vine-climbing symmetry. Sleepy reverb envelopes inquisitive rhythms mimicking precious memories as De Augustine’s comforting voice and graceful guitar navigate embroidered pastoral voyages enlisting distant whispers and wistful wishes; open-hearted verse poured over engorged chords, assorted flourishes and embellished progressions. 

Lady Lazurus - Impossible Journey of My Soul Tonight

Rooted in simple acoustics and raised in self-appraisal, Lady Lazarus’ restless quests meander, unhampered by conventional structure; sage, languid language relaying authentic sentiment with picturesque speculation, intriguing secrets and elegant acceptance. Auditorium performances disclosing hopes, reasoning feelings and examining ramifications as recital-hall piano wafts in haunted reverb, “Journey,” ties recurring reminders to tender memories, skeletal melodies baptized in lyrical inquiries.

Anna Nalick - The Blackest Crow

Guided by a well-tuned ear, intuitive chanteuse Nalick gathered an eclectic mix of Country, Folk, American Songbook and Britpop for a songsmith’s set-list that gifts craft alongside sincerity, celebrating timeless feelings captured in classic lyrics possessing posh, melodic competence. Backed by acoustic guitar, cello, upright bass and drums, “Crow,” flows in restrained arrangements beautifully supporting Anna’s supple, casually confident vocals.

M. Ward - Think of Spring

Fragile magic casting mellow spells, Ward turns Billie Holiday classics into discerning interpretations for voice and acoustic guitar, spotlighting hesitant regrets and pressing confessions through timid insinuating minimalism. Hip, cool, and wise while pining, lost in lover’s limbo, “Spring,” swings in sighing hindsight and fond farewells; intricate, sophisticated blues left at the altar dressed in nuanced truth and warm regards.

Lindsay Clark - Carpe Noctem

Airy, acoustic fairy-tale star-sailor, Clark sparkles with windchime-lined guitars cavorting around chamber-folk vocals and wood-nymph string quartets; luminous musings sailing through sun-dappled calico jazz and lace-embroidered gingham pop. A bright, idyllic musical loom “Noctem,” shuttles fondly between breaking dawns and smiling twilight, a wakeful daydream escape woven with descriptive whimsy, strung from wonder-filled welcomes and paired with spare, piano-led prayers.

Robin Holcomb - One Way Or Another, Vol. 1

The historically minded Holcomb looks back over her own career; collective memories where pauses speak volumes with tactful passion, jaunty phrases dancing around agrarian phantoms; persuasive, insistent, anchored and inescapable. Colloquial art-folk reimagined in assorted covers, originals and reframed side-projects set to voice and piano, “Another,” captures time’s ubiquitous meticulousness whose lyrical legacies waltz in eloquent and ominous feminist remembrances.

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