Slipped Discs

Nick Jaina - The Beanstalks That Have Brought Us Here Are Gone

Hand-crafted and custom-tailored to specially selected singers, “Beanstalk,” compiles a menu that swings between mirthful and melancholy. Fashionable madrigals inside swooning moon-lit chamber-pop sonatas, composer Jaina produces luminous showcases inside bristling panoramas dressed in brass and strings.  The all-female voices bring dark romance to the bluesier tunes and back-lit allure to the exquisite art-folk flamencos and jazzy Appalachian swan songs.

Woods - Sun and Shade

Wide-eyed and blissfully innocent, mischievous sixties whimsy snaps, crackles and pops brokered in corrosive overdoses of basement space-rock. A glorious and incandescent, “Sun,” runs tweaked twee dreams around quaint paisley mazes and woozy hallucinogenic textures as knob-twiddling wizards skip merrily into crashing waves laced with rainbow fuzz and sunflower jangle.  Woods’ anachronistic sizzle whittles charmed adolescent experiments into galactic-spackled monuments.

Gardens and Villa - Gardens and Villa

Floating over chilled robot funk and distant subliminal falsettos, New Wave pagans swaddle medieval dream-pop and clubhouse Krautrock in slithering, hook-driven oblivion. Abandon phantoms trapped in analogue smog and retro-cyber beats, Garden and Villa’s freshman effort paints swishy digital moodiness bubbling from plastic happiness deploying sinister interstellar synths and flickering guitars cushioning butterfly flutes, boosted wig-outs and soothing alien subterfuge.

Smoke Fairies - Through Low Light and Trees

Sisterly tranquility pirouettes through throaty folk dipped in slinky mists and prowling pomp. “Trees,” weaves celestial serenity bobbing along the choppy waters of twisted steel guitar, prim hymns bursting into lofty rock. Prickly filigree embroidered in kudzu, Britain’s Smoke Fairies string Renaissance wings onto swamp-water incantations, massaging potent mojo into ancient mysteries. Catch them August 14th at Milwaukee’s Shank Hall.

Portugal. the Man - In the Mountain In the Cloud

Blasting past glam-rock boogie, funky electric blues and Zen guitar furies, “Mountain,” amasses cosmic Pentecostal stomps amid narcotic rainbow gospel. Mega-ramped mantra rock crests, arrests and sets fire to spiraling psychedelia, cradling granola mellow soul between crashing surges of blazing impatience. Roving leprechaun pop accosting Gothic haunts, P.tM’s action-packed wisdom and wishes encapsulate zigzagging cascades of spotless lava lamp logic.

Afrobeta - Under the Streets

Miami-based pulse hustlers, studio groovers and flashy scratch-masters, Afrobeta’s cougar moves, cooked hooks and DJ hearsay splices New Wave party-girl pumps, rapping disco rumbles and glossy trollop-rock poured over lubricated bass, stuttering synth-riffs, pinball beat-box and dishy, diva grievances. Edgy innovative dance-pop sizzles in polyrhythmic pleasures as, “Streets,” racks up sassy acid mash-ups, smart, tripped-out play-time and deliciously decadent get-downs.

Maria Taylor - Overlook

Ragged touches undercut undulating Southern charm, cloaked in consoling sympathy and poised on sleepy, slippery slopes, “Overlook,” cooks coy counsel alongside lavender fascinations fashioning heavenly elegance from folk-pop heartbreak. Enlisting family and self-producing, Maria’s languid longings and demonic harmonics harness demure decisions and bushy-tailed benevolence for harlequin seductions ranging from wounded to willful, bathed in shimmering admissions and defiant self-reliance.

Release the Sunbird - Come Back to Us

Humble wonders, wistful intimacy and folksy tranquility highlight Rogue Wave front-man Zach Rogue’s new side-project. Friendly genuine vibes and idyllic upbeat rides, RTS’s unencumbered takes and minimal overdubs conjure sweet, unimpeded camaraderie within discrete, unassuming synergy. Effervescent messages bounce beside bright, pastoral chords from tight, tasty guitars and glazed, syncopated keys, “Come,” shines over softly-spoken joys infiltrating bucolic alt-pop ballads. RTS play Madison’s East Side Club August 25th.

Geoffrey O'Connor - Vanity is Forever

Crayon Fields singer’s plastic nostalgia buoys stately sustains and ominous bass, concocting frosty melancholy tossed over sophisticated chords and clinical beats for eighties soul-searching encased in faced facts, romantic traps and lapsed compacts. “Vanity,” uncannily channels overheated libidos by playing it cool; mod Aussie shoe-gaze smothered in shiny sounds and tragically poignant perceptions. O’Connor plays Chicago’s Lincoln Hall October 3rd

Luke Temple - Don’t Act Like You Don’t Care

Folksy consoling grooves caressed in essential sentiments, the Here We Go Magic mastermind turns gurgling turmoil into upbeat Talmudic jamborees. Nestling old-fashioned passions, “Don’t Act,” frames love-pangs against organic harmonics and honest optimism, bending tender amends into lively unguarded pardons through layered nuance. Wavering between humble and grand, Temple’s intimate minimalism, scores fleeting, deeply textured tunes from faint, dainty serenades. Luke plays Chicago’s Lincoln Hall October 18th with CANT.

The Kooks - Junk of the Heart

Effortless Britpop perfection transforms trusted structures into sweet, savvy, alchemical delights, Two years in the making, “Junk,” mines bouncy countenance through space-age minstrels extolling earth-bound ballads. Hugging the beat around propulsive hooks soaring in choruses and immersed in flirty verse, The Kooks’ nicked riffs and sizzling sonic comments mix flippant misfits within sumptuous salads producing tuneful larks beside feather-weight heartache

Host Skull - Totally Fatalist

Collaborating multi-instrumentalists concoct bristling hybrids plucked from tasty alt-pop influences. Thoughtful interlocking improvisations underline frolicking prog-pop playfulness haunted by jazzy contractions and mathematical happiness, “Fatalist,” yields exquisite eloquence from its sunny blues and clever new wave strategies employing artful brass and woodwinds.  Flipping from spastic to placid, HS’s skewed cool fuels back-lit mischief through cinematic poise and charming chromatic acrobatics..

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