Slipped Discs

Jason Collett - Here’s to Being Here

Friendly ambling narratives and slippery rhymes highlight a lyrically lubricated troubadour of sophisticated fictions. Here jumps a blues train that moans and sputters winding behind fickle hobo hearts while Collett’s rockin’ roots beats propel hip bohemia against the shuffling lilt of ghostly folk and the novel application of cock-eyed pop.

Sam Amidon - All Is Well

Amidon’s steady hand at historical forms give birth to hypnotic epics of quiet journeys Chamber folk gently brushed with sophisticated nuance and wholegrain reverence, All clip-clops nostalgically like raindrops sweetly gathering on windowsills, while touching the contemporary, straddling worlds, public and private, past and present by sincere delivery coupled to angelic arrangements.

Yoav - Charmed & Strange

Opening for Tori Amos, Yoav proved a versatile and electrifying performer. Layering sparse loops without ever becoming overcrowded, the agile and empathetic, Strange busks and bobs its diabolical ditties in ghostly echoes and tip toe tempos. An engrossing one man music machine, live or on disc Yoav slyly snaps, crackling with cosmic pop.

Kaki King - Dreaming of Revenge

Kicking off Revenge with a groovy gothic instrumental, the normally mute guitarist then confounds expectations and sings, pivoting from doe-eyed folkie to shoe-gazing popstar before re-introducing her trademark electro-acoustic jazz-folk.  Graceful textures laid over intertwining rhythms; King’s chameleon imagination weave big skies and starry nights, mixing awe with self-assurance, curiosity into inspired creativity.

Jim White - Transnormal Skiperoo

Country toasted gumbo stirred and spiced with subtle touches. White wiles his way into common dreams and universal visions painting language in earthy tones, suspicious shadows and radiant hope. Whether slithering or celebrating, the backwoods boogie creeps sleepily under the skin. Lazy beats wake to take to the streets as Transnormal trolls tradition.

Dawn Landes - Fireproof

New York based Kentucky native Landes tweaks conventions on her combustible Fireproof. Throwing odd instruments, pop afterthoughts and the occasional alt-rock muscle into her skewed waif folk, Dawn draws from both country and city sources. A recording engineer as well as singer-songwriter, Dawn’s refreshingly low key approach makes Fireproof, intimate, quirky and wonderfully brazen.

David Saw - Broken Down Figure

Tastefully melodic, Saw shines best at his simplest – quietly penetrating into the heart of the matter armed only with an acoustic guitar and a gentle voice that comforts as it questions and confides. Deceptively innocent, Broken rocks its wise lullabies in melancholy overtones, waltzing between introspective dramas, sage advice and patient romance.

Rufus Cappadocia - Songs for Cello

From a single instrument, Songs serves up jazzy slap-bass, swelling raga drones, pointed Arabic whirlwinds and plummeting subterranean melodies. A lustrous sound of unearthly bellowing lifting exotic flicks of whispering kicks flying in oily waters, Cappadocia’s cello squirms with genie-like turns uncurling from an ancient bottle unleashing a gorgeous choir of wordless voices.

Haale - No Ceiling

A paranormal panorama swimming in foreign palpitations and oceanic orchestration, Ceiling stretch and pulls, enchanting in dancing trances, Persian seductions and prog-pop pomp. New York born with Iranian roots, Haale incorporates her unique position between cultures in a mesmerizing maelstrom of ancient traditions and modern tastes, making transcedent music that stirs the soul.

Kevin Ayers - Unfairground

Elegant, austere and almost perversely old-fashioned, Britain’s Soft Machine co-founder foster a fondness for jaunty cabarets lined with innocence and wisdom. Ayers’ unwavering vocals boldly unfolds among strings, horns and an elastic sense of psychedelia. Woozy and mellow, jet-setting and stylish, the star-studded Underground covers hip in every civilized shade from tangos to honky-tonk.

Kooks - Konk

Sad-eyed scoundrels rattling off breezy, rhythmic panache, The Kooks return with charming razzle-dazzle tailored to slippery romance, urbane insolence and rollicking guitar shuffles. Lolly-gagging in upbeat beatnik cheekiness, Konk coolly crunches British consciousness into three minutes jabs strummed to a keen ear and sharp eye. Likeably petulant, The Kooks play Milwaukee’s Turner Hall June 1st.

Was (Not Was) - Boo!

After twenty-years rest the party starts up again as, “Boo!” serves up sly soul, wacked-out cyber-irony and fishy tail-shaking funk. Respectfully subversive and sweetly deceitful, the original line-up still stays one step ahead of the competition, jiving and conniving with a goulash of grooves and gallows humor, political smarminess and hip, wicked wit.

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