Slipped Discs

Puerto Muerto - Drumming For Pistols

Bruised serenades, galloping punk-rockabilly foxtrots and ragged border town blues lock and tumble into a circus of shadowy cadaver ballads and brooding, alt-rock burlesques. Brilliantly desolate, Puerto Muerto’s scratchy erratic cantina concertos concoct bombastic flaunts between moody, consuming regrets while, “Drumming,” furtively teases and wails; banshee-riddled stomps vamping alongside foreboding, late-night sympathies.

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.

Sallie Ford and the Sound Outside - Dirty Radio

Whack scats, romping bop and whip-smart jive straddle bawdy shotgun operas drawn from washboard boogie, barn-stormin’ rock-a-billy and smoldering back-alley soul. Ford and company’s vivacious revivalism injects contemporary perspectives into swinging traditions, pairing hootchie-cootchie come-ons alongside waltzing walk-on-bys. Channeling Patsy Cline, Big Bill Broonzy and Bessie Smith, “Radio,” radiates raw, feisty geek-girl charm for tasty raves and brash maverick ballads.

Nikki Lane - Walk of Shame

Hard-hitting honky-tonk harnesses faraway wails and unflinching farewells, coasting home in tear-soaked commotion, timeless codependent tension burning bright beneath a sea of twang and reverb. “Shame,” tames coyote kiss-offs, hopping from swinging barroom bop to stoic alt-country romps. Nikki’s concrete cow-punk pairs sassy Southern gumption alongside I told you so odes, tipping a ten-gallon to reckless youth and restless penance.

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.

Strange Boys - Live Music

Wrangling gangly country-blues through barbed-wire honky-tonk, “Live,” whips bleary world-weary feelings into half-mumbled puzzles spun from boppy music-hall jaunts and growling carousing. Ragged haphazard screechers and grizzled hillbilly stompers howl, lurch and stumble around self-tortured portraits buoyed by cock-eyed twang. Glib, dilapidated investigators, SB’s riverboat-soaked roots prove surly seasoning to punchy moonshine crunches, plaintive hip-shaking impatience and tumbleweed cough-syrup doo-wop

Sallie Ford and the Sound Outside - Untamed Beast

Level-headed reveler and simmering torch-song singer, Ford’s batter-dipped sass and tough-chick grit melts soapbox boasts into frosted caution drawing saucy celebrations from salty bop for lip-smacking, finger-snapping, rumble-seat gumbo. Bawdy stomps and jump-start romps ignite frisky epiphanies via jive surf-guitar bards and rock-a-billy fillies while, “Beast,” courts and cavorts in cheeky discourse. Ford and company play Madison’s Majestic March 31st.

Nikki Lane - All or Nothin’

Stoked in rogue rockabilly-folk and straight-talk country-pop, “All,” falls smack-dab between hard-bitten drifters smitten by smart, tart hearts and no-nonsense honky-tonk dressed to kill. Dan Auerbach’s bold, retro production booms and swoons in boot-scootin’ tunes tinged in vintage organ fills and lively laptop steel as romance wrangling Lane’s bruised moods deliver irresistible tips for extended stays at the Heartbreak Hotel. Nikki plays Madison’s High Noon Saloon June 16th.

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