Slipped Discs

Tegan and Sara - Heartthrob

Moving from their adorably uproarious indie-pop past into the slick, mega-watt synth-rock of, “Heartthrob,” Canadian’s beat-driven twins blossom from diary-fired pen-pals to incendiary scene-stealers. Burning with lustful thrusts, smoldering condolences and torrid choruses, the sisters still manage to earn sympathetic connections and admirable allies. Infectious and perceptive, Tegan and Sara play Madison’s Orpheum February 24th and Milwaukee’s Pabst March 7th

Caitlin Rose - The Stand-In

Smart and sassy songbird Rose hands hard truths in tasty occasions and wry asides. Rockin’ cocktail pop salted in modesty and brimming in wisdom lasso sumptuous country wonders. Muscular slide sidled alongside sweet, uplifting strings and tuneful tales regale as; “Stand-In,” stands tall in thoughtful propositions, kind reminders carrying poetic medicine guaranteed to rouse tarnished hearts and soothe calico souls.

Suuns - Images du Futur

Spell-bound and bubble-wrapped, rendering menacing chemistry between hypnotic electronics and sluggish mumbles, half-starved guitars stitch twitchy riffs to shivering rhythms; “Images,” pulses, drives and scrambles, steeped in slow strobe-light aerobics, creepy industrial-rock hydraulics and thieving, deviant dervishes. Drainpipe arias dredged from rubbery presumptions, Suuns’ jittery pictures paint narrow escapes from plastic caskets and tense, high-beam seizures from throbbing, zombie fevers.

Fol Chen - The False Alarms

Stalking exotic beats through fawning time-bomb cons, L,A,‘s Fol Chen upends modern dance-floor conventions in fearlessly delirious weirdness. Come hither synths with back coated in moody seducer’s detachment and playful tasered tact, “False,” waxes and collapses; a close-circuit circus wired to sci-fi funk crunched by leather-clad coquettes issuing illicit robo-pop operas decked out in teasing beliefs and slippery digitized charisma.

Girls Names - The New Life

A dock-side revisionist’s dissertation; shimmering six-string fidgeting scrawled into psycho-swirling jangle, glittering post-punk propulsion and squealing alleyway urgency, “Life,” swipes in riveting dissonance and swoons in fluid moves stirring dark melodic furies in oddly upbeat sweeps. Inspired pariahs, hungry ghosts in high-voltage potions, GN’s wiry white-cap magic bolts and sparkles, undaunted doomsday dancers enlisted in luminous maneuvers cornering stormy performances.

Johnny Marr - The Messenger

Casually dapper and happily passive, the legendary Marr struts in curt, cavalier choruses; animal grace fueled by roaring Britpop guitar-rock tastefully embracing crash-car guitars slashing through thick, steel forests. Bright, hook-filled arena-pleasers dispensed in hot electric helpings mix all-consuming cool into boisterous joys while, “Messenger,” revels in clever head-bobbing abandon; sketchy espionage drawn in bold, soulful bravado and talented gallantry.

Low - The Invisible Way

Celebrating twenty years as a band, the Jeff Tweedy-produced, “Invisible,” amply demonstrates the Duluth trio’s powerful minimalism; deft, sympathetic harmonies welded to singular lyrical clarity. Robust and heart-wrenching, introspective yet invincible, Low’s glacial pacing opens honest reconnaissance, straight-forward voyages exploring transparent compassion, splendid revelation and elusive beauty. Artists of deep solace and sorrow-drenched strength, Low plays Chicago’s Metro March 22nd.

Brown Bird - Fits of Reason

Wicked intricacy provides grizzly intimacy among cleansing frenzies as, “Fits,” whips tricky electric licks and timid minstrel picking into haunted gallows night-tripping. Frisky gypsy fiddle and gritty twisted guitar canter and spar while Spanish tangents planted in galloping arabesques duel curdling Turkish minuets; BB’s smoke-house atonements stoke brimstone moments inside smoldering poetry woven from unrestrained flamencos washed in global hobo-folk.

British Sea Power - Machineries of Joy

Passionate assassins infiltrating cathartic scrap-yard carnivals and regal sea-side séances, BSP’s lush cinematic savages croon, fume and bloom in aristocratic madness culled from immaculate thrashing mounted onto empire-toppling pop-rock. Dismantled mansions crawling with restless, petulant phantoms, “Machineries,” dreams in edgy bonfire elegies nestling skin-tight midnights, mystical guitar-stricken mysteries birthed in tenacious British industry, poignant battle-scarred sympathy and glorious rip-tide ironies.

Tin Cup Serenade - Tragic Songs of Hope

Sizzling calypso, sad jazz and spiffy Dixieland spritzers make the subtly bubbly, “Hope,” float over champagne smirks, foxy nods and manicured purrs. Coy, buoyant jive slides behind laid-back cats packing hot tropical options, TCS’s witty sophistication lounge atop finessed burlesque; cheeky, scat-happy patter tumbles from languid mambos to casual rags inserting modern takes on swinging traditions for blissful retro-hipster commissions.

Vicky Cryer - The Synthetic Love of Emotional Engineering

Assembled by Louis XIV’s Jason Hill, whose friends from The Killers, Muse, NIN and Jamiroquai add admirable pizzazz, VC’s reptilian rhapsodies tease with nimble glitter, libidinous swivels and lubricated grooves.. Bottom-feeding dreamers seething in vintage seventies chemistry, “Synthetic,” meshes leather-clad infatuation among stellar hard-rock struts; coiled catwalk pop into proto-disco groping and blackboard jungle rumbles from prowling T. Rex rapscallions.

Dutch Uncles - Out of Touch in the Wild

Acrobatic staccato slathered in classical strings, satin-soft synths and percussive muscle, “Wild,” riles rhythmic prog-rock fissions for an exacting marriage of chattering art-pop patterns stabling feather-weight sabers skating over synchronized visions within linear signatures. Deliciously rigorous and blessedly flexible, DU’s tight-knotted romps blink, flit and flinch; slippery whispers skip over spring-loaded probes whose swooning pneumatic catalysts enchant, recant and romance.

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