Mannequin Pussy
The crashing cymbals that open this Philadelphia trio's signal the start of forty minutes of both chaos and meditated passion.
With a name like Mannequin Pussy, song titles like “Clit Eastwood,” and “Meatslave,” and lyrics like the repeating, orgasmic “uhn!” in “Sneaky,” the band never separates sex from their art. But that's only the surface. They aren't loyal to a particular sound. Some songs are something akin to upbeat shoegaze, while others sway more to hardcore punk. Of course, trivial aesthetic matters like this don't matter to Mannequin Pussy (in fact, they choose to characterize themselves as “shitpunk”) — what they do seem to care about is quality music, no matter what you call it.
And that music provided for a display of unadulterated emotion, coming from both romantic inspirations and simply having a pulse. Marisa spits lyrics that pull you by the hair with empathetic fervor, whether they're passive— like “Clue Juice”'s “Well, if that's the way you want it // Well, then that's the way it is,”— or aggressive— like when she cries out “I'M THE ONLY ONE PAYING ANY ATTENTION” on “Meatslave 1.” Mannequin Pussy get it: they possess that uncanny ability to not just regurgitate their feelings, but rather make the audience feel what they feel through unabashedly abrasive song.
By the near-end of their set, Marisa says “we're still Mannequin Pussy.” It may seem redundant but I didn't receive it as silly stage talk. I think we all needed a reminder of where we stood after being in Mannequin Pussy's world for nearly an hour.
-Keyian Vafai
Dent May
If Brian Wilson ever decided to go electronic he would do well to take a page out of the book of Dent May. A Mississippi native, May seamlessly blends the aesthetic of 60s & 80s pop, creating an aggressively care-free sound.
A highlight of Dent May's live set is "Eastover Wives," a song in which Dent delves into the lives of the lonely and devious young housewives from his hometown. I've always been a sucker for such lyrical specificity and Dent May's eccentric vocals make it all the sweeter, evoking the style of an old crooner. His vocal harmonies and upbeat arrangements keep you vibing to the hook.
I suggest you give Dent May a listen - his vibes are sure to ward off any polar vortex.
-Jazz Adam
Gunther Doug
"Won't [country] music change now that the [country has] turned strange?"
Gunther Doug began their set proclaiming that everyone at Shea was in for some country numbers. They must be from some bizarre lands.
Well, Nashville actually but that makes just as much sense. Their tunes are reminiscent of some those southern giants of 80s alternative rock and has a freewheeling weirdness that's completely endearing. The band works in broad strokes, both the lyrics and music have a comic-book like directness to them. The world of Gunther Doug is replete with doomed grandmas, casual criminals, demons, hotboxed caves and, of course, the complex inner life of the turtle.
It's all what I think they would call a "hoot" - take a listen and hear what this trio had in store for us when they stopped in this past July.
- Luke Chiaruttini
Landlady
There's a word that gets thrown around not-so-lightly in these parts: "undeniable." That means it's hard to imagine anyone in their right mind thinking that this band is anything less than great, even if it's not their bag. You literally can't deny it. I'll go out on a limb and say that Landlady is the newest addition to my list of undeniables.
What more could you want? Adam Schatz has the kind of singing voice (and speaking voice for that matter) that people would do unforgiveable things for. The band itself defies characterization beyond their excellently written, winding avant-pop songs which were all performed excrutionatingly well at their month-long Shea residency this past April. If you want to hear a group of musicians at the top of their game, look no further.
Landlady's newest LP entitled "Upright Behavior" is available now via Hometapes.
-Luke Chiaruttini