Slipped Discs

Drivan - Disko

Cozy sunshine tempos goad cyber-shaman garden parties to sow funky, kinder-pop assemblages roaming over pixilated, trip-folk jams. Home-grown croaks and groans; Sweden’s electro-collective Drivan stirs together ghostly temptress vocals, playful plinking keyboards and subtle psychedelic software to percolate innocent rhythms. Bemused and accepting, “Disko” can be a place, a product or a state of mind.

Young Galaxy - Invisible Republic

Bold, smoldering alien jangle-rock visionaries soldier and slither around goth-gospel pop spouting disenchanted evangelism. Sporting strutting spooky elegance the ghoulishly cool, “Republic,” saunters, meshing textures and coercing conjectures, dispensing bewitching empathy. Sleek, oblique and slightly out of reach, YG’s temptingly redemptive persuasions reasonably teases, treed feedback among risky and irresistible sacrificial dance-floor rituals.

The Clientele - Minotaur

A mini-album packed to the gills, from the quasi-classical to the nakedly oratorical, Minotaur,” jumps verbal hurdles with posh indie-pop. Richly descriptive visions pitch open-hearted curve-balls, blue-eyed soul courting memory and dream, woozy musings illuminated in toe-tapping mojo. TC’s craftily re-mastered music hall rock tosses off crisp Britpop swagger saluting fine taste and good breeding.

Fences - Fences

Bedroom pop wallpapered in weathered regrets and street-fed wisdom, “Fences,” packages unsorted feelings into restless resolution, nimble pickin’ and waltzing melodies whose casual insight and gifted riffs bolster roller-coaster emotions through stoic brokered perspective. Personable and persuasive, Fences’ jaunty melancholy and placid happiness nestle together befriended by quietly spry lyrics, sly hooks and humble brilliance.

Underworld - Barking

First-time use of outside producers, Underworld’s sixth disc remains indelibly true to its trance-disco roots. Corridors of escalating beats, sweetened in hip-swiveling jangle and arena-sized synthesizers, helicopter to rapturous pneumatic satisfaction. Tentatively menacing, “Barking,” revel in spotlight stares cast from lingering sizzle; steamy cybernetic sequences teasing secret night-time daydreams between pounding downtown declarations exuding cavalier club-hopping confidence.

The Posies - Blood/Candy

Renowned perpetrators of American pop irony, the Posies’ craftily immaculate power-pop pageantry returns, leveling its majestic assessments over clever metaphors, creating crackling candy-coated kiss-offs while deflating egos in slick wit. From cordial to incorrigible, from guilty-pleasured hooks to shark-jumping arrangements, “B/C” harbors hindsight harmonies between gleefully deviant toe-tappers. Double-billed with Brendan Benson, the Posies play Milwaukee’s Turner Hall November 5th

Bloody Bloody Andrew Jackson - Bloody Bloody Andrew Jackson

Joyfully boisterous political burlesque, “BBAJ,” spin power-mongering parables into fame-driven morals and energetic allegories. Charismatically arrogant characters burst into effervescent bravado as gorgeous hoi polloi choruses orchestrated by rockin’ rabble rousers provide spot lit soliloquies inside rock-star bluster and feisty, foul-mouthed fanfares squeezed between bittersweet pop-rock pleads. Smart, sharp and sarcastic, “BBAJ,” deliver amusing historical buffoonery alongside theatrically hijacked fact.

Meridene - Something like Blood

Wise asides and quick quips happily carry percolating electric piano, bipolar guitar, and rock-solid bass and drums; like shock absorbers on a bumpy road, “Something,” comforts contemplative cravings in cryptic hipster’s whisperings told in simmering conviction. Convincingly syncing thoughtful despondency in a stew of swinging rhythms, Eau Claire’s Meridene attain rare pop honesty, accurately capturing passing moods through descriptive prescriptions.

Nobunny - First Blood

Psycho-jingle slapstick wrapped in lo-fi stoner nostalgia, “First,” works self-mocking mirth, twisting feel-good formulas into tasty craziness. Bubblegum decadence laced with rockabilly’s cheerful sneers, surf’s feckless recklessness and punk’s primitive deliverance, intrepid renegade Nobunny’s whacked attacks skip merrily around contagious outrageousness, flipping the bird via Merseybeat raves, roughed-up New Wave and rabid fifties romps for raucously lop-sided sock-hop party rock.

Mini-Mansions - Mini-Mansions

Ghoulish pursuits from pop-rock hooligans, Mini-Mansion’s crazed clichés cleave dream-speak tweets into a scrumptious rush. Cryptic gibberish and lecherous messages canned into pounding, pouncing demonic delights, a bushwhacked grab-bag evoking Spoon, Supergrass, even Billy Joel, this self-titled debut scoops goofy gremlins into spirited shenanigans, walking bass pirouettes into spiraling guitars and barrelhouse piano for campy vamps and predatory rock-star glory. Mini-Mansions appear Dec 8th at Milwaukee’s Mad Planet and Dec 9th at Madison’s Project Lodge

The June - Green Fields and Rain

Merseybeat meets the Maharishi as Italian jangle-rock rides sunshine psychedelia in spritely, air-tight flights through wizardly, electric-folk holidays draped in clean, sweeping dancehall harmonies. The June’s fearlessly weird and winsome crimson mission includes manicured melodies cushioned in majestic suggestions, earthbound analogies and techni-colored choirs. “Green Fields,” cultivates incurable romantics and heaven-scented meditations, refreshing medication for tired lives and crowded hours

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.

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