Slipped Discs

Eleanor Buckland - You Don’t Have To Know

Expanding from her acoustic roots with Boston folk trio Lula Wiles, Buckland’s rolling backroads rodeo addresses life’s unavoidable messes with fearless lyrics and perceptive pep captured in galloping backing circling twang-jangle heartache and rockin’ wanderlust. Wisdom distilled into compact two-act story-songs, “Know,” smolders in incandescent electricity; thumping drums, race-car guitars and assorted keyboards empathizing beneath poetic connections and restless introspection.

Matt The Electrician - We Imagined An Ending

Bobbing optimism culled from merging personal journeys into accurate snapshots, Matt the Electrician gathers traveler’s cavalier valor packed in practical happiness and noble hopes toasted over sentimental friends celebrating human communion. Empathetic songs dressed in thoughtful folk-pop, “Ending,” parlays velvety melodies and spirited lyrics into colorful hullabaloos smoothed into universal viewpoints, defusing confusion through tuneful sunshine musings and good-natured playfulness.

FUR - When You Walk Away

Peppy messages testing waters, stirring pots and double-checking connections, “Walk,” rifles through post-skiffle idioms mixing music-hall rock and bristling Britpop, harmonic jangle crooning in self-assurance, earnest certainty and yearning purpose. Blending tender innocence with youthful hurdles, FUR imparts wise asides about romantic division, crossroads composure and rerouted doubts with upbeat ballads delivering succinct opinions inside catchy choruses and limitless riffs.

James Ilgenfritz, Brian Chase, Robbie Lee - Loss and Gain

Hesitant measurements chart darting cartography with bewitching minimalism as bassist Ilgenfritz, drummer Chase and woodwind multi-instrumentalist Lee tease intangible submarine frequencies, abrupt percussive ruptures and prowling predatory explorations into disconnected suggestions waking unfettered expression. Convulsive hovering coupled in drained chaos, impending ambushes and hazardous fascination, “Loss,” operates under cryptic rules where the nervous converse and broken silences breath tonal cacophony.

Tasha - Tell Me What You Miss The Most

Coffeehouse clarity sharing conversational daydreams, “Most,” hosts elegant embellishments sheltering cozy jazz-folk intimacy, a swath of swelling strings and uplifted singing coloring ambient canopies with waltzing caresses in diaphanous touches brushed in fluttering wonder. Silky lyrical balms soothing open social wounds, Tasha massages unjust presumptions with gentle persuasions and kind mindfulness grooving to mellow elocution, unguarded charm and prudent nuance.

Nation of Language - A Way Forward

Impassioned calculators dashing ultra-vibrant synthwave patterns against curdling worries and monolithic convictions, the probing retro-futuristic Nation of Language untangles soulful exposure trapped by adamant schematics mapping indefatigable attitude. Weary delirium from slavish raves, “Forward” swirls in cyber-limbo melodrama; anxious bass racing urgent drum-machine timekeeping, haunted speeches promise undying allegiance holding technological hostages in overdriven precision, emotional throes and despondent responses.

Joan As Police Woman, Tony Allen and Dave Okumu - The Solution Is Restless

Slithering rhythmic ghost-deposed gospel, “Restless,” catches double-helix digi-jazz strategies; steamy Bathsheba divas dripping lordly contortions over elegant bendable funk singed in rising pliable piano, synths, guitars and strings stretched over satin-smooth grooves. Sonic conquerors Allen and Okumu lubricate Joan As Police Woman’s placid gravitas with subtle skulking, the trio’s low-flying desires gliding through dreamy ravines, sinful inroads and elastic cascades.

The Brandy Alexanders - The Brandy Alexanders

Bright, brazen consciousness-raising painted in blazing paisley, engorged power-chords and swinging rhythms, The Brandy Alexander’s molten alt-rock voltage twists haughty psychotics into perky flirtations with hook-filled thrills straddling calculated mayhem and familiar willfulness. Flawless plots grooving to restless get-aways, the Canadian five-piece’s self-titled album bursts with retro treasures washed in modern fondness, edgy yet friendly, surprisingly kind while unsparingly daring.

Sara Serpa + Emmanuel Iduma - Intimate Strangers

Compelling storytelling scored in neo-classical strategies where electronic auras and disembodied choirs elevate flowing prose into kinetic poetics, “Intimate,” stages performative tournaments through effusive muses pursuing haunted observations as multi-dimensional memories. Portuguese vocalist-composer Sara Serpa and Nigerian writer Emmanuel Iduma blend beautifully spoken moments with minimalist vision, transforming essential evidence into magical chapters fashioned from secret meetings and captured reality.

Marissa Paternoster - Peace Meter

Forthright and decisive, Screaming Females’ Pasternoster slays rock-gothic monsters and braves godforsaken pagans, shaping funeral wounds into ecclesiastical passion and marching attentive contentions beneath regal allegiance. A quarantine album created by long-distance collaborations with members of THOU, Snakeskin and Lung, “Meter,” feeds merciful dirges with never surrender destiny, feudal bootcamp truces circling devilish reveille with strong, calm call to arms.

Pearly Gate Music - Mainly Gestalt Pornography

Anecdotal episodes unfolding behind tall tales and savory fables, “Gestalt,” unlocks indie-folk heroics with tactful madrigals, deeply felt elegies and sage serenades circling face-to-face relationships in literate sympathies. Mid-tempo sentiments aligned alongside tasty innovation, PGM seeks human roots in sprawling novelty, delivering colorful apologies with shimmering images and educated rhetoric surrounded by gorgeous pedalboard accompaniments subtly layered in synthesized riffs.

The Lottery Winners - Something To Leave The House For

Sunshine rhymes hiding precocious emotions among whimsical optimism, The Lottery Winners’ finger-wagging swagger flexes smug intellect in catchy perplexities addressing time-tested messages with sly sing-along romps, snickering winks and saucy bopiness. Savvy candy-coated craft masks sincere inquiries with melodic positivity and earnest mirth turning, “Something,” into cabaret-flavored playdates housing tender defenses in spirited bounce, gallivanting anthems channeling muscular blockbuster busking.

View More

Viewing Page 85 - of 92

‹ First  < 83 84 85 86 87 >  Last ›

Contact Maximum Ink music magazine

• Contact: Webmaster(at)maximumink.com
• (608) 245-0781
• No Longer Accepting Unsolicited Packages
  Please email Webmaster or call for more info