When you come to the Jack Oblivian party, you are going to expect some pawn shops, bad intentions and low-down sleaze and on Rat City (in stores September 13th), he delivers. From the feral existentialism of songs like “Rat City” and “Mass Confusion” to the unhinged love songs with underlying sweetness like “Girl on the Beach” to vignette-heavy songs like “Girl with the Bruises”, Jack disembowels American roots music and the resulting deconstructed songs are tied together with an undeniable groove that only a drummer could muster. Among the originals are some well-picked covers, including a buzzing psyche version of “Moses and Me” by Tommy James and the Shondells, the Howlin’ Wolf-esque “Old Folks Boogie”, re-imagined as a Mississippi trash-blues worthy of T-Model Ford in his prime and “Lover Please!”, a hit for Clyde McPhatter that showcases the incredible guitar slinging of labelmate and collaborator John Paul Keith. Jack Oblivian produced Rat City and played a myriad of instruments on the sessions, at times playing everything.

Slushy is a rock and roll bubble gum sun slop pop punk band from Logan Square, Chicago. Rad dudes with rad tudes playing rad tunes. Rock and roll and catchy melodies and having fun. Slushy writes songs about having fun, eating food, being young, dying young, falling asleep, not having fun, traveling through time, and falling in love with every cool girl we meet. Chris is the one who sings the songs and plays the guitar and dances around. Brent is the one who plays the drums and guitar at the same time, or maybe at different times if that seems like more fun. Sometimes other people will join them if it sounds like a good idea. We like having fun.

John Paul Keith is a blistering guitarist and singer, and the kind of songwriter who makes great melodies and incredible lyrics sound effortless. His new album The Man That Time Forgot will be released on June 21st on Big Legal Mess via Fat Possum Records. Produced by Fat Possum’s Bruce Watson, it captures the spirit and energy of the live shows put on by Keith and his band the One Four Fives, but explores a wider range of themes and influences – echoes of Tex-Mex, garage rock, countrypolitan, mid-60’s soul/pop, fiery rockabilly, and even Mose Allison’s brand of jazz-blues. It’s around about the third listen the realization comes: These songs are incredible. From the Sir Douglas-like opener, “Never Could Say No”, to the wry, closing-time waltz, “The Last Last Call”, this is the work of an amazing songwriter.