Slipped Discs

Tim Presley's White Fence - I Have to Feed Larry’s Hawk

Gritty, jittery surf-twang dirges crash irrational art-punk passions into casual goth-pop pathos as Presley’s baroque-folk mojo floats unhinged flings past refracted realities with eerie calm and devilish delirium. Rocked in cock-eyed ironies, analogue anarchy and supernatural theatrics, “Larry’s,” packs fractured twilight torch-songs around tender demented wig-outs; slow-drip trips shaking off memory-lane mind-games with trans-dimensional calliopes, flubber-toughened bass and ricochet-rattled guitars.

Sharon Van Etten - Remind Me Tomorrow

Languid entanglements make moody mazes for the indomitable, “Tomorrow,” whose manipulated sounds, melodramatic melodies and methodical percussion exhume funeral gloom into cutting rebuttals; newborn scorn knitting distant intimacy into proud alt-rock shrouds.  Combative reactions, glorious abandon and self-assured purges flavor Van Etten’s psychological toffee, churning obscure cures into elusive proofs to assist hard-bitten victims sweeping romantic debris from bittersweet secrets.

You Tell Me - You Tell Me

Silky knots dissolve in gorgeous flourishes fluttering among angular bangers; Field Music’s Peter Brewis and Admiral Fallow’s Sarah Hayes fuse trifling delights into luminous movements and glossy posturing. Poignant chords explore sharp-cornered rapport in the duo’s self-titled debut, with fussy luxuries gracing pliable pop through posh pantomimes, ornamental contentment painted in sophisticated refrains, charismatic ballets laced in lush metropolitan crushes.

Dani Bell & the Tarantist - Wide Eyed

Alley-cat sass slinks past B-movie flashbacks letting pulp-fiction vixens spin, “Wide Eyes,” around empowered prowlers sparring with open-hearted targets. Sensual empathy emptied into beatnik quips at after-hours night-clubs, Bell’s dream-boat vocals twist coy joys into tempting remedies, whip-smart whispers nestled in grind-house rock as contagious danger lures uncertain mercies into smoky, fire-escape soirees sound-tracked by hip-swiveling doo-wop from doomsday sock-hops.

Frances Cone - Late Riser

Lifted in smooth blue-eyed soul flowing in bold dream-pop composure and courageous harmony-rich exposure, Frances Cone’s sumptuous air-brushed heaven blends solemn compositions into tumultuous wonders, inspiring choir-spiked hindsight fortified in evangelical groundswells exploding over cagey rhythms. Drenched in sensitive strengths and generous intentions, “Riser,” nurtures positive urges, enraptured baptisms countering drowning struggles with dramatic auto-tuned beauty from commanding synth-kissed witnesses.

Girlpool - What Chaos is Imaginary

Wide-eyed DIY adventurers, Girlpool’s infectious folk-punk gumption expands into nuanced choral-pop confections built from wholesale exuberance, centered incandescence and authentic sentiment then adding breathless depth, thoughtful polish and selective effects. Surrounded by plush, muscular daydreams leapfrogging into symphonic honky-tonk, the curious, “Chaos,” spawns fawning vaudeville concoctions radiating sumptuous stadium flame-outs, coffee-shop chops merging intimate string bridges to unlocked bedroom jangle.

Martin Frawley - Undone at 31

Youthful troubadour days ripen into descriptive reminisces and keen self-examination as, “Undone,” strums and plunges, stalking and balking with distracting challenges wrapped in genre-hopping pop-punk passions. Smart, perceptive and articulate, Frawley’s solid observations find common ground in bouncy modesty, laidback hindsight and droll consolations; well-paved escapades braving clever fair-weather speculations anchored in leveraged memories, court-jester regrets and small-town pawn-shop monologues.

Julia Jacklin - Crushing

Truth-bomb romps calmly lay down the law and Jacklin is public defender and ace reporter. Burning questions with long fuses, the Aussie’s honest, confident, “Crushing,”  breaks everything into simpler pieces. Defiant self-reliance coated in folk-pop melancholy, friendly deference and plain-spoken poetry, Jacklin’s personal insights apply disquieting focus to shy, diary disappointments, charging hypnotic hurrahs hiding unspoken stories under pensive compensations.

Bayonne - Drastic Measures

Steady confetti textures shimmy, twinkle and shine behind Bayonne’s molting, blue-eyed butterfly soul, tropical froth pelleted in cellophane boogie, slow-motion ecstasy dipped in rainbow-riddled rhythms and fidgety digital visions. Hatched in placid waveform incubators, “Drastic,” relaxes in aqueous sound-mattresses; cotton-candy phantoms drunk on chattering percussion, rippling synths rinsed in double-ply sunshine inside colliding arpeggios absorbing cordial chords achieving sleepy peacefulness.

Cherry Glazerr - Stuffed and Ready

Double-dare savior faire pitched in flinty quips over crunchy stunners, “Stuffed,” stacks rascally swagger onto ticklish tease and subversive reversals for ravenous magic stoking smoldering emotions.  Ripped rock riffs woven from indie ingenuity, the crafty Cherry Glazerr party-crashes with blazing charades and chameleon charm igniting ferocious reproaches from mischief mistress’ doe-eyed ambushes trapping risky, frisky fun spun from power-pop fantasies.

Murray A, Lightburn - Hear Me Out

Warm, massaged, mahogany phrases enrich Lightburn’s cavalier melodies, relaying unwavering romance in lofty optimism and heroic hope. Well-considered admissions swinging in bon vivant wants embellished in starlit sighs, “Hear,” steers intriguing sincerity and sensitive repentance in polished doo-wop harmonies; glowing, retro-lounge pearls strung from golden odes to love’s saving grace, life’s inevitable fumbles and the heart’s journey between the two.

Strand of Oaks - Eraserland

Cavernous rapture riding twilight-bitten blues through fog-bound ballads, Strand of Oak’s embroiled scuffles muscle shuttered moods mounted in hounded folk-emo majesty; serrated raves paved in brave self-doubt. Birthed in melodramatic surges and contemplative fates, “Eraserland,” draws gritty vision-boards from pendulum-swinging cliff-hangers, amending tender reflections into glorious reforms then sending fond remembrances sullied ultimatums. SoO plays Madison’s High Noon May 2nd.

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