Mannequin Pussy

Mannequin Pussy

The third full
-
length from Mannequin Pussy,
Patience
is an album fascinated with the physical
experience of the body, its songs tracking the movements of mouths and hands and racing
hearts, skin and spit and teeth and blood. Deeply attuned to the power of their own physicality,
the Philadelphia
-
based band c
hannels complex emotion in blistering riffs, thrashing rhythms,
vocals that feel as immediate and untamed as a gut reaction. But throughout
Patience
, the
Philadelphia
-
based band contrasts that raw vitality with
intricate
melodies and
finely
detailed
arrang
ements, building a
strange and
potent
tension that makes the album all the more
cathartic.
The follow
-
up to
Romantic

a 2016
release
praised by Pitchfork for “
combin[ing]
punk,
shoegaze, death metal, and more, with the ferocious
push
-
pull energy of a mosh pit


Patience
came to life at Studio 4 in Conshohocken,
Pennsylvania. In creating the album, Mannequin
Pussy worked with producer/engineer Will Yip
(Quicksand
, The Menzingers),
shaping an
explosive
sound that
never
overshadows
the
subtlety
of their songwriting.
“In the past
there’s
been a
chaotic feeling to the recording process, but
working with Will put us
in
a different
headspace,” says Dabice. “
It helped us
show our progression over the past few years and make
a very crisp
-
sounding record,
without losing
the
dirtiness of what Mannequin Pussy really is.”
Opening with its
gloriously
frenetic
title track,
Patience
matches Mannequin Pussy’s
wild
volatility
with a
narra
t
ive voice that’s
often
painfully vulnerable
.
On “Drunk II,” for instance,
Dabice’s vocals shift from fragile to furious,
the track’s
stormy
guitar work
colliding with lyrics
capturing
the
grief
of
post
-
breakup inertia
. “I wrote that
song one night when I was
very
heartbroken,
after
I’
d been out with friends tryi
ng to pretend like I wasn’t feeling
so
hopeless,”
says Dabice. “I went home and
just
started
playing guitar and
crying, and stayed up
working on
that song till
about four
in the morning.”
On
the
delicately
sprawling
“High Horse,”
Patience
takes on a
more
restrained
tone but
still
maintains a
devastating
intensity, with
Mannequin Pussy presenting a
n
intimate
portrait of an
abusive relationship (“Pushing me up against the
kitchen sink/I feel your breath on me/I can
taste it in my teeth”).
Meanwhile, “Who You Are” shifts into
a
brightly tender
mood,
assuming
a
classic
-
love
-
song sweetness in its message of self
-
acceptance.
“I turned 30
as
we were working
on the record, and
it changed my
whole
perspective
on my life and relationships and
everything
,” says
Dabice.
“‘Who You Are’ came from thinking about what I’d want to say to
myself when I was still
in my 20s
and wasting so much time not believing in myself.”
Elsewhere on
Patience
, Mannequin Pussy
transmit
an unstoppable
fury
: the 39
-
second “Clams”
delivers
as
a
brutal
blast of
vitriol against those who’
ve
tried to hold
them back
, while

F.U.C.A.W.

unfolds
in
unhinged riffs
and
relentlessly
pounding beats
.
And on
“In Love Again,”
the album closes out with a
magnificently epic
anth
em
driven by
dreamy guitar tones
, lilting

Destroy Boys

Formed in 2015 and carrying on the riot girl legacy, Destroy Boys are redefining Left Coast punk. Equal parts hardcore and fun, Destroy Boys is what would happen if Blondie stumbled into a Misfits recording session. Lead singer Alexia Roditis’ haunting melodies and Vi Mayugba’s shredding guitar are both an homage and an evolution of all things classically punk. The duo’s latest album, Sorry, Mom, is a manic reminder of how recklessly expressive punk rock was designed to be and earned them a mention in Rolling Stone magazine by legendary Green Day singer Billie Joe Armstrong in 2016 before either had graduated high school.
With a couple of tours up and down the West Coast under their collective belt, Destroy Boys is hard at work on their upcoming project, while heading off together to attend college at Oakland’s esteemed Mills University. Destroy Boys also received two 2017 SAMMIE awards in the Best Punk/Post Punk Band and Teen band categories, as well as a nomination for the Best New Artist category.

A faint voice and a fervent guitar make their match in a cluttered bedroom, each song finding itself in a growing folder of recordings stamped by initials “L.S”. Ellis is the music project of Linnea Siggelkow. Daughter to a traveling book salesman and a piano teacher, Ellis flips the words from the books she once read, intertwining vulnerable with bold into the songs that she now sings. Having already made her mark as a solo performer in the Toronto DIY scene, the project has evolved into a 4-piece band, inspiring a grittier take on the same solemn refrain.

In November 2018 she released her anticipated debut EP, The Fuzz. The EP arrived following several months of excitement building behind Ellis, who, after generating buzz in her local scene on the back of opening stints with the likes of Soccer Mommy, Gabby’s World, Chastity, Palehound, and Free Cake For Every Creature, garnered international acclaim with the release of a series of singles, earning comparisons to Mazzy Star, Alvvays and Slowdive from outlets like Pitchfork, Noisey and Stereogum, who marked her out as one of “a new generation of exciting songwriters.”

The six-track release presents an uncommonly fully-realized aesthetic to match the strength of Siggelkow’s songwriting. Built from simple instrumentation, but deftly arranged to lend a grandeur and devastating scale to Siggelkow’s skillfully rendered laments, the release is a resounding statement from a young artist who is poised for a reception that equals the scope of her remarkable gifts.

$12.00 - $15.00

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