Slipped Discs

Holly Golightly and the Brokeoffs - It’s Her Fault

Brimstone cornpone carousing around backwoods toe-tappers, “Fault,” exalts howling juke-joint boogie, muddy-water rockabilly and hog-tied honky-tonky for a formidable twist and shout from shotgun honeys wielding skid-row licks drenched in swamp-water kicks. Recorded on their Georgia farm, Golightly and partner-in-crime Lawyer Dave stay true to their country-blues roots reaping delicious rib-tickling kitsch beneath gritty buckshot ballads and rollicking hootenanny anthems.

Nothing - Guilty of Everything

Bristling in super-saturated sizzle, sputtering cosmic fuzz and congealing electric squeals, Nothing’s uncoiled turmoil lays thick textured sheets of ghostly gloss for polished squalor whose colored lulling unveils stark phosphorescent sparks. An intergalactic factory welding corrosive guitars over tranquil banquets, “Guilty,” forges past shoe-gaze haziness into fluid space-rock awesomeness building explosive potions from brazen buzz, fog-bound preponderance and dream-streaked feed-back. Nothing vists Madison’s Majestic Theater opening for Pelican May 18th.

Warm Soda - Young Reckless Hearts

Thundering bubblegum conundrums tumble from sly reprisals, elevating, “Hearts,” from re-bottled power-pop to ingenious glam-rock rip-offs whose fizzy lo-fi wizardry tackles garage-god swagger in driving dime-store rhymes, race-track riffs and toasted locomotives for sugar-coated commotion sure to dissolve upon impact and leave a sweet taste in the aftermath. Lovesick misfits, Warm Soda resurrect restless petulance fueled by burning, yearning sentiments.

As Animals - As Animals

Mastering theatrical characters embroiled in romantic catastrophes, France’s As Animals traipse from cheeky divas to regretful coquettes. Soulful moments packed in Cheshire Cat sass, shapely arrangements and lusty percussion, their self-titled debut is infused in silky smooth moves stylishly combining tribal bite with nightclub bluster while sleepy bedside overtures overturn frisky late-night heart-break and symphonic longing dispenses smart, sensitive medicine.

Sally Seltmann - Hey Daydreamer

Thoughtfully melodic tales seasoned in lovely buttery bounce and rainbow taffeta laughter, “Daydreamer,” leaps between life’s peaks and valleys landing on carnival-lined crossroads trimmed in whimsy. Spring-loaded poems nurturing jump-rope jaunts and lavish magical lullabies through spotless chamber-pop chops, Seltmann’s ambitious wishes and sparkling self-reflection colors the grayest days in bright insights; subtly twisting emotional indecision into clever, extra-perceptive visions.

Withered Hand - New Gods

Casually compassionate, disseminating infectious revelations in vagabond sing-alongs, Scotland’s wise and enterprising Withered Hand manages to candidly span lovelorn storms with meditative playfulness. Rambling folk jangle and zesty zydeco mojo makes for tuneful ruminations wound around homespun hope and pop-rock sounds as the beautifully exuberant and tenderly Dickensian, “Gods,” lodges its chronic honesty in rich, pithy passages and boisterous choruses

Manchester Orchestra - COPE

A blistering avalanche balancing guitar-drenched petulance, Manchester Orchestra’s supple bundles of fleet-footed rumble plows past fluid sleuths groomed and consumed by viper-like appetites. Panther anthems pounce on spirited pirouettes from dynamic romancers as, “Cope,” floats over shell-shocked flocks and stormy non-conformists, building shrines to power-chord grinds, gut-wrenching gravitas and buffed muscle. The swift, resilient rockers crash Madison’s Majestic May 12th.

Split Single - Fragmented World

Nourishing portions served with verve and packed in panache, “Fragmented,” welds the best bits from power-pop and modern-rock for a hook-filled road-trip whose scenic themes wind and climb in streamlined designs. Led by Jason Narducy with sidemen Britt Daniel and Jon Wurster contributing bass and drums, Split Single’s groove-infused gurus cruise through galvanized truths delivering casual valor behind unerring daring.

School of Language - Old Fears

Double-parked hearts ambushed by nimble rhythm-driven brittleness tie-dyed alongside creepy bass, startled guitars and snake-charmer falsetto, School of Language’s post-graduate arrangements construct a cagey British art-rock disco; tripping slinky form-fitting syncopation into irrepressibly edgy segues for a funky roller-coaster hosting elliptical blue-eyed soul. Nervous curves fashioned from zigzagged tag-teams, “Fears,” steers past slippery hipsters into intricate collisions and fractured passions.

Eels - The Cautionary Tales of Mark Oliver Everett

Whether waxing nostalgic in woeful condolences or blissfully lifted in wistful symphonies, “Tales,” sails through divested upsets, touchy subjects and repressed regrets guided by benevolent acceptance, sublime kindness and razor-sharp pop instincts. A bedraggled master of tender depression, Eel’s front-man E pens his fondly despondent correspondence with sage rainy-day cadences. The witty, prickly Eels slide into Madison’s Barrymore June 4th.

Jon Langford & Skull Orchard - Here Be Monsters

Populated by unsuspecting cogs, merciful mercenaries and friendly renegades, Langford and his crackerjack back-up lob strong, accomplished songs entrenched in soulful fox-hole rock ‘n roll. Vigorous convictions and compact compassion weave scrappy recaps beside pithy vigilance as the reliantly defiant, “Monsters,” fosters brisk gypsy waltzes dipped in country-folk brogues and delightfully feisty ballads loaded with shimmering incriminations and introspective interventions.

Wye Oak - Shriek

Topped in posh synth-pop palpitations, cozy knowing vocals and caramel carousel keyboards, “Shriek,” peaks, tweaks and soars; carried by daydream queens hungry for shadows strapped to race-track steeds with deep-shag saddles. Equal parts alluring coercion and dangerous equation, the willfully wiry Wye Oak evokes entrancing dance-floor enchantments within gurgling cyber-circus vertigo. The Baltimore duo headlines Milwaukee’s Turner Hall May 14th.

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