Slipped Discs

Beth Orton - Sugaring Season

Longing melancholy filtered through jazz, folk, country and soul, Orton’s first effort in six years continues to create discrete meetings for introspective specters. Guiding silences sail through drizzly mysteries while personal mirth gallops over swooning orchestration, “Sugaring,” dances in brilliant twilight ruminations engaging nuanced acoustics; frail epics blossoming into brave, unfettered confessions. Beth lights up Milwaukee’s Turner Hall October 9th.

Teni - Afrodisiac

Afro-Cuban fusions dipped in seductive percussion, midnight horns mournfully cornering soul-jazz labyrinths, “Afrodisiac,” matches soothing coos to tempting tempos for cool musical jewels swayed by reggae and bathed in highlife. Generous, spirited and softly persuasive, Teni’s Nigerian roots and London birth bridges global traditions with feminist wisdom, an earth-mother enchantress doling bold, lavish mantras through bewitching sophistication and sultry funk. 

Low - The Invisible Way

Celebrating twenty years as a band, the Jeff Tweedy-produced, “Invisible,” amply demonstrates the Duluth trio’s powerful minimalism; deft, sympathetic harmonies welded to singular lyrical clarity. Robust and heart-wrenching, introspective yet invincible, Low’s glacial pacing opens honest reconnaissance, straight-forward voyages exploring transparent compassion, splendid revelation and elusive beauty. Artists of deep solace and sorrow-drenched strength, Low plays Chicago’s Metro March 22nd.

Tin Cup Serenade - Tragic Songs of Hope

Sizzling calypso, sad jazz and spiffy Dixieland spritzers make the subtly bubbly, “Hope,” float over champagne smirks, foxy nods and manicured purrs. Coy, buoyant jive slides behind laid-back cats packing hot tropical options, TCS’s witty sophistication lounge atop finessed burlesque; cheeky, scat-happy patter tumbles from languid mambos to casual rags inserting modern takes on swinging traditions for blissful retro-hipster commissions.

Steve Gunn - Time Off

Crafted from rustic muscle, tactical mastery and global mojo, “Time,” meanders in hypnotic chops, wiry guile and hippie serendipity; savvy tapestries weaving taunt knots within placid gymnastics. A disarming shaman with stoic vocals drawing mystical riffs from his acoustic guitar, Gunn’s pliable spirals funnel bluesy voodoo into psychotropic folk to coax intricate, intimate jams from his band’s roomy, intuitive ruminations.

Eleanor Friedberger - Personal Record

Placid ballads, lonely sambas and halting waltzes saunter along as earth-bound lounge in luxurious certainty capture first-class songs in pool-party impertinence; “Personal,” whirls in journal-churning thrills as quotable anecdotes and candid mandates stream and careen inside bohemian dreams knee-deep in coy Freudian rejoicing. Breezily leisurely, Friedberger’s flirtatious tastes snake through pithy sixties shin-digs, sprinkling torch-song soul around jazzy, chatty rigmarole.

CAVE - Threace

Slithering minimalism built from bebop chops and jagged jazz-funk romps, “Threace,” pieces subtle muscle to hip, interlocking riffs for panting jam-band trances whose understated patience uncoils marathon paragons of hypnotic providence and instinctive revision. Rocking to heady, rhythm-fed treasures thrashing in galactic dashes and pivoting syncopation, CAVE enslaves loose, elusive moves within jungle-fevered dreams; guiding driving jive around mind-melting stealth.

Neneh Cherry - Blank Project

Teaming up with Four Tet and Rocketnumbernine, sultry counter-culture suffragette Cherry weaves a stream-lined feline beat-street suite around mechanical-animal minimalism. Plain-spoken emotions splintering in forth-right insights and commanding semantics, the free-style rapper’s restless messages become prowling scowls caging unadulterated conveyances. Sparring in jarring techno-funky adventures, “Blank,” maintains an unwavering flame of jazz-punk jive; tough, gutsy hustles peppered in teasing clichés.

Kan Wakan - Moving On

Soft gloss, sumptuous gumption and lavish dazzle glide through shellacked chromatics as the tenderly coddled and runway-modeled, “Moving,” beautifully fumes, discretely feasts and casually fathoms panoramic fantasies. Epic pledges sprinkled in sinister grit; jazz-addled lounge lizards drizzle soul-sister kisses over super-sleuth movies leaving, Kan Wakan’s brassy, sassy orchestration snuggled beneath poised chords breathing cinematic passions into chiffon trip-hop symphonics.

Alexander Turnquist - Flying Fantasy

Twelve-string inspirations arranged around classical instruments and modern electronics; master guitarist Turnquist composes sparkling armor whose tight-knit bliss calm and excite, curious flurries that circle and take flight. Stirring churning murmurs, “Fantasy,” gallantly dallies; Zen engines bending and blending into dappled catacombs; mystical, cyclical hives buzzing in resounding rounds, doused in quivering rhythms and plucked like weeds from still-water dreams.

Sondre Lerche - Please

A level-headed specialist of delicate spectacle and suave carver of melodic marvels, Lerche flirts in elaborate studio panache, dabbling in compact jazz-pop magic whose breezy teasing belie deep emotional dissonance within finely-chiseled songs. A bon vivant post-divorce discourse, “Please,” flees into clever revelry, sly asides digging swinging sophistication, popping corks in proto-baroque explosions primed in champagne refrains and bittersweet cheekiness.

The Singer and the Songwriter - What a Difference a Melody Makes

In a swish of delicious retro-pop gossamer, TSATS’ modern take on romantic banter adds tangy flames to cozy taffeta jazz basking in attractive bop, savvy appetites and enamored glamour. Primed in sophisticated mischief, “Difference,” polishes posh thoughts into bewitching whimsy for a suave hurrah to witty simplicity, effectively selecting choice chords steeped in breezy, matriarchal sparkle and cavalier, chandelier swing.

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