Slipped Discs

Dears - Missiles

Quietly solemn, slowly simmering, The Dear’s revamped, stripped-down sound buckles down and re-emerges more evocative and powerful for the restraint. Grand without grandstanding – the navel-gazing textures give way to no-nonsense questions as hypnotic nod-rock wakes into precarious storms. Propelled bullet-like into darkness, “Missiles,” grazes, stuns then penetrates, erecting temples of temptations within subtle, sophisticated mazes.

Tipsy - Buzzz

Manufacturing out of this world Frankenstein lounge, Tipsy’s laughing gas crafted five martini dreams become hip, space-age hiccups clipped to cocktail trips skimming film noir sound bites, locomotive cha-chas and pickled Latin-jazz palpitations.  The kaleidoscopic cavalcade shifts smoothly through grooves, an electric, eclectic, cosmopolitan soup brimming with big band blips blending and rendering swinging midnight rendezvous.

Arizona - Glowing Bird

Casually surreal, Arizona’s exquisite, cryptic, softly-mocking pop takes flight firing psychedelic flashes over heavenly harmonies encased in devilish melodies. Folk-rock falsettos teeter between humble and majestic as, “Bird,” builds smoldering tunes from acoustic roots, melting angelic pirouettes into acid ballistics, spinning ironies soaked in sunny truths and morals, delivered with insolent court jester wit.

Fireman - Electric Arguments

Thirteen tracks recorded in thirteen days, experimental joyrides juggle genres in Paul McCartney and Youth’s third collaboration. Reversing TF’s previously faceless techno-ambient stance, “Electric,” is in your face naked hopes and determined demons. Shooting from the hip, the duo produces unglued blues, truly beautiful ballads, country minstrel wisdom, flower-power raves and unabashed busker’s boogie.

All The Saints - Fire on Corridor X

Tunneling thunder, “Fire,” blazes into vapors, eclipsing itself in devouring sounds and molten machinery. Muttering prophecies washed in fiery take-offs and soft landings, ALS fearlessly steers from heavy to haunting – astral druid choirs subsiding in cathartic blankets of ghostly tones taking left-hand turns into crashing vibrato and moaning tremolo.

Cale Parks - Sparklace

Aloha percussionist’s sophomore solo sojourn percolates processed pandemonium, chilling robo-rhythms into spacey sambas, molding twilight techno from fleeting sequences. Seething and seizing in fitful digital sonambulism, Parks’ cascading cacophony cultivates sonic stampedes, a cavalry of cyber-tribal consciousness. “Sparklace,” floats in a sea of whispered suggestions, pulsating messages projecting a drowsy virtual after-life of programmed transcendence.

David Byrne & Brian Eno - Everything That Will Happen Happens Today

Wide-eyed enlightenment, the blissed-out innocence of “Everything,” is calmly counter-balanced by ominous undercurrents, finicky mysteries playing among Afro-pop guitars, country and western acoustics and extraterrestrial playfulness. Eno’s studio synergy dances alongside Byrne’s Pentecostal allegories for strangely familiar worlds, sweetly creepy treats plucked from glittering, ocean forests.

Pavement - Brighten the Corners: Nicene Creedence Edition

Shaggy, lop-sided fastballs sketch slacker social history as, “Brighten,” boasts goofy insights from smartass punks who bop, stomp, tattle and taunt over snakey guitar, pogo bass and loose-limbed drums.  Fortified by singles, b-sides, out-takes and radio performances, Pavement’s fourth is now a delicious double-disc documentary illuminating the band’s late-nineties indie-rock genius.

Starflyer 59 - Dial M

Suave and sardonic, “M,” phones in catchy beats, dark chords and ambulance urgency, delivering slithering, sinister vamps and slick, square-jawed indie-rock stomps. Stubborn, steady hooks probe and prod as Starflyer 59 addresses brooding moods in fluid phrases and menacing new wave. Tortured portraits taunt and mock while taking stock in shadowy pop.

- Who Killed Harry Houdini?

Sprawling odysseys circling innocence and adolescence with shirtsleeve hearts and underlying pining, the English-singing Swede’s sophomore effort befriends and amends. Timid and torrential, the thirty-member band offers a spicy musical minestrone in a gaily painted Galapagos of banjo, tympani, clarinet and brass as IMB’s kindergarten rock whispers wistfully and roars sympathetically.

Jenny Lewis - Acid Tongue

Dishing out an inspired buffet of bent Americana, modern songbird Lewis’ song-writing skills turn classic formats into formidable platforms, launching alt-country gospels, weepy folk ballad blues and raging rockabilly toe-tappers. Couched in cameos and chameleon changes, “Acid,” waxes and wanes, openly hopeful then wickedly sinful. Powerful pipes aid adventurous exercises in Lewis’ adept adaptations.

Chopteeth - Chopteeth Afrofunk Big Band

Biting brass rides rumbling rumbas while hip-hop highlife wiggle and worm its way past jazzy James Brown soul. Nimble, relentless and electrifying, the twelve-piece D.C.-based band sings, shouts and seduces in seven languages as Chopteeth’s politically-charged beats respectfully skim rhythms from Senegal to Jamaica, dancing from Ghana to Nigeria straight into Funkytown USA.

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