Slipped Discs

Brian Eno and Rick Holland - Drums Between Bells

Spinning vigorously digitized Afro-pop and mesmerizing New Age, Eno pairs mystical rhythms and primordial chorales against Holland’s calm truths and processed epiphanies. Manipulated palettes gallop as velvety ooze moves through synthetic stews, grouping moody mathematics around deprogrammed metaphysics. Integrating techno-speak from cyber-specters and vivid images from androgynous monologists, “Drums,” plummet crystal epistles past philosophical obstacles, scorching horns and jazzy patterns.

Wooden Shjips - West

Churning, squirming murmurs battle seething feed-back and pile-driving percussion while slithering chainsaw blues cruise saturated flash in a combustible combination of mind-blowing bliss. “West,” masterfully plasters sulfuric solos over discordant storms, twisting fistfuls of fuzzed-out guitars and thick wicked organ. Seismic miners, WS’s sinewy squalor breech and buckle under scathing sonic séances, co-opting cross-wired chakras for absorbing amorphous phantasmagorical fibrillations,

Nick Lowe - The Old Magic

Finger-snapping smooth and country-hip cool, Wilco tour-mate Lowe’s 13th album wraps itself around sentimental eloquence, replacing pub-rock raves made famous in his early days with a captivating compendium of frisky, rockabilly lullabies, starry-eyed Merseybeat and crooning Texas swing. Ace back-up and star-filled cameos from Paul Carrack, Jimmie Vaughan and Ron Sexsmith insure, Magic,” dazzles with professional performances surrounding impeccable arrangements.

Devon Sproule - I Love You, Go Easy

Sizzling in idyllic pixie mischief while tumbling in wonder, Devon’s roots, truths and remedies house home-spun charm cast in funky country, toddling jazz and twirling bohemian folk. Rural musical beauties croon twang-spackled happiness inside sweet breezy chords and friendly piano chats, “Easy,” seizes translucent blues brewed in intimate calico sympathies for proud, crowded celebrations, reflective confessions and sophisticated road-warrior boogie.

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.

Barry Adamson - I Will Set You Free

A mindful and musical Mephistopheles, Adamson’s underhanded cinematic palette hones each song into a polished collage of seamless espionage, anger-fueled grooves turned baritone cool and post-modern pop both embraceable and dangerous. Houndstooth counsel nattily targeting black market charlatans, “Free,” squeezes square-jawed sojourns into swift and sanctified rampages, moody soul-rock voodoo drawn from swinging zoot-suit jive and rumbling urban curtain calls.

Anna Vogelzang - Canary in a Coalmine

Banjo, guitar and zither swim in languid string quartets, spritely thumb pianos and fretful squeezeboxes, transporting, “Canary,” through cajoling art-folk mojo, heel-kicking kinderpop and fan dance chicanery. Lit by lithe reason and cushioned in optimistic speech, classically trained and personally inspired renegade East Coaster and Madison foundling Vogelzang seduces in footloose truces, baking moon-pie manifestos outlining fun, wonder and comfort.

Greenpot Bluepot - Ascend at the Dead End

Exotic concoctions drawn from noisy orchestras of wheezing reeds, Thai beats and tinkling cymbals, “Ascend,” sends rampaging rhythms around feral spells from tarot card choirs. Twisting ethnic traditions resisting conventional wisdom, GPBP’s outlandish mannerisms stampede in haunting microtonal hypnosis, unleashing fearlessly multi-cultural boomerangs for swirling dervish curses chasing snakes and making faces from ruthless Kabuki spookiness and choreographed cyber-tribal kookiness.

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.

Eleni Mandell - I Can See The Future

Silky smooth coos brewed in rich bewitching mysteries from casually bashful infatuations, Mandell’s proud high-brow country-soul lavishes jazz-drizzled melancholy over torch-song teases lulling supple alley-cat passions around folk couture, sad bachelor ballads poured over cuddly cocktail rebuttals.  Trembling gems on thorny crowns and Chantilly lace, “Future,” speculate in tarot cards and tamed mustangs, beatnik chamber-pop that undulates in twilight sighs.

Aimee Wilson - Unto Us the Sun

Stoic harps, nomadic pianos and rumbling tympanis weave tentative sentiments around weathered memories; the dappled, magical, “Sun,” circles and skirts elaborate madrigals, emergent dirges and Saxon ballads exploring flaxen passages beneath macramé mazes. Dramatic chamber-jazz tactics open brooding moods as spiritual pilgrim Wilson surrenders to indigenous mysteries spun from elusive truths hiding intangible challenges for hypnotic frolics and discerning journeys.

Cat Power - Sun

A beacon of steamy bohemian shuffles and brisk, shimmering opinions splashed over bayou-hungry grooves, “Sun,” plunders ragged scats, cooked hooks and vixen fiction for folk-soul rainbows covered with corrosive notions and stamped in enchanted incantations. Citing frightening modern maladies, CP’s casual valor crackles in warmly familiar misfortunes, whirlwind wisdom and sensitive benevolence braving outraged saviors, prudent suitors and kindred sinners. Cat Power plays Milwaukee’s Pabst Theater on October 29th.

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