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Futurist's "Olive Mountain" is both transcidental and tangible, release new LP "Omens" 9.27

Animistic metaphors play center stage on “Olive Mountain,” the new single by Brooklyn psych-rock veterans Futurist. Interspersed among syncopated sunny guitar lines and trance inducing background vox, frontman Curtis Peel waxes on about “fountainhead’s through the noose,” “diamond science,” and “separating blood from a stone.” Futurist’s lyrics wouldn’t be out of place in a tarot deck, but they’re not entirely detached from reality; at the core of “Olive Mountain” is a clear yearning for closure, likely of a romantic nature. As such, the band’s ability to bridge the gap between the tangible and the transcendental endows their music with a unique magical realism, and promises more esoteric imagery on their forthcoming sophomore effort, Omens, out September 27th. Dig it below. -Connor Beckett McInerney, Photo by Shervin Lainez

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The Deli Philly’s July Record of the Month: Patience - Mannequin Pussy

The quartet of Mannequin Pussy, which is made of Marisa Dabice (guitar & vocals), Athanasios Paul (guitar & keys), Kaleen Reading (drums & percussion), and Colins Rey Regisford (bass, samples & vocals), has returned with its third album. Patience was produced by Will Yip, and is now available via Epitaph.

Aggression and tension melodically converge on the album’s title track. From the initial jarring jumpstart of guitar that sets things in motion, the song lyrically expresses a shift in perspective within a relationship – one that depicts insecurity in the form of possessiveness. “Who told you, that my body was yours to own? Long before you called, it was crawling through the wild.” “Patience” fuses enthusiastic energy, evaluating circumstances, and emerging resilience.

With “Drunk II,” the tone is set by hard-driving rhythms and searing, smooth guitar lines. Marisa Dabice’s vocals cut in a vulnerable, revealing manner. “I’ve been going out almost every night, I’ve been drinking everything I can get my hands on, I pretend I have fun.” A lingering sadness hovers as Dabice describes projecting strength, while internal doubts remain. “And everyone says to me, ‘Missy, you're so strong!’ But what if I don't wanna be? And everyone says to me, ‘Missy, how do you stand it?’ There’s so much that you don't see.” 
 
“Cream” races forward in a raw, frenetic manner, as Dabice expresses, “I was standing in the gates of my hell. I was looking at myself like, ‘Girl, what you did, take a look at yourself right now!” Backed by Kaleen Reading’s tenacious percussion, the moment seems to represent a pivotal point of change, which rips and roars like an inferno. In contrast, “Fear/+/Desire” exhibits a gentler side of the band. The aesthetic is reinforced by the softness of the vocals, which is juxtaposed by the painful dynamic of the relationship. “You beg me to build you a monument, and as it grew, oh so did all my regret. Is this what you wanted? Does holding me down make you feel desire?” Recalling the need to escape an abusive situation, the protagonist concludes that “possession is a demon that I never meant to keep.”

 A fiery riff is complemented by raging percussion on “Drunk I,” as a limit is reached. “What kind of woman would you rather I be? Docile and waiting to breed? I’d rather be that. My heart is racing, wrapped up, and no, I’m not afraid.” Keeping things short, and not so sweet. A solemn, haunting instrumental opening develops the mood of “High Horse”. Painting an exit scene from a tumultuous setting, the instruments gradually swell, developing tension before momentously spilling over and crashing down. “Someone who wouldn’t treat me like you do, I fucked up. How many times will you beg me to? Your worlds on fire, as I watch up from my high horse. Your worlds on fire, and I walk away.”

“Who You Are” embraces the current moment, while describing self-acceptance. “If I were you, there’s not a thing I would restart. I love who you are.” Then, about halfway through, the tempo accelerates establishing a sense of urgency. “I felt the earth move, in your eyes. I get excited by your side. I know they want to get you to be the kind of person they’d rather see, but you don’t have to change.” There’s a high-speed intensity that exudes a cathartic control.

On “Clams,” Dabice trades verses with Regisford, as heavy percussion forge a combative sound seen through a financial scope. “I fought, but I did not win…I just want my money.” “F.U.C.A.W” captures an uncompromising in your face moment, as the guitar cuts and the drums bash. “What did you say to me boy? Come on and spit it in my face.” 

“In Love Again” closes the record on an optimistic note. Keys mingle while the other instruments establish a bright bounce. Then, everything drops back isolating and highlighting the thoughts and vocals. “Oh, it keeps getting better. I cried out, and fell out the center. I’m so high; I want this forever.” When the instruments re-enter, a joyous blitz ensues.

Patience shines in its candid openness, exploring personal struggles, demonstrating the strength to break through and remain optimistic about what the future has in store. –Michael Colavita





Weekend Warrior - June 28 - 30

Amuse-Oreille, Vol. 2, the latest EP from American Trappist, is out today. Joe Michelini and company produce an earnest, incisive viewpoint. Welding a rough-around-the-edges mentality with the ability to iron things out into breezy, easy-flowing storylines, the songs shift from a sun-setting, sand-between-your-toes, intimate sway to a more aggressive, “get the fuck out of my way” stomp. This Saturday at Johnny Brenda’s, American Trappist will be celebrating the album’s release, joined by musical brethren The Vernes, whose latest release Yr of the Rat was produced by Michelini. The album gently cruises in a pleasant progressing though slightly somber contemplative state. The assertive yet poppy, garage-psych trio, Grace Vonderkuhn, lays down the groundwork for a most excellent evening. – Michael Colavita

Other places kickin’ the jams this weekend…

Johnny Brenda’s (1201 N. Frankford Ave.) SAT The Vernes, American Trappist, Grace Vonderkuhn

Boot & Saddle (1131 S. Broad St.) SAT Lower Wolves, SUN Kuf Knotz & Christine Elise, ialive

Kung Fu Necktie (1250 N. Front St.) FRI Big Nothing/Riot Nerd, SAT Adalie, Seek To Thrill, Skyline The City, Hartline/DJ Hvnlee, Peenness, 1-800 Happy Hour

PhilaMOCA (531 N. 12th St.) SAT Dominy, Ali Awan, Barney Cortez 

Underground Arts (1200 Callowhill St.) SAT Hellings, Mach22, DJ EBG III 

The Foundry (1000 Frankford Ave.) FRI DJ Kaz, SAT Rebel Foster

World Café Live (3025 Walnut St.) FRI (Upstairs) Luke O’Brien, The Bul Bey, DJ Royale, SUN (Upstairs) Mirah

MilkBoy Philly (1100 Chestnut St.) FRI Steal Your Face

Ortlieb’s Lounge (847 N. 3rd St.) FRI Mark Lanky, A.M. Mills, SAT Julia Rainer, SUN Kiss of the Whip

The Barbary (951 Frankford Ave.) SAT Children's Books (Final Show), Head Spell, Jurks, First World Kids With First World Problems, Dear Forbidden

Bourbon & Branch (705 N. 2nd St.) FRI Presages, RNGLEADER, Sharks With Frickin Laser Beams, SAT Fawziyya Heart (EP Release), The Wallflower Observer, SUN Matt McAndrew, Siobhan McShea

Silk City (435 Spring Garden St.) SAT DJ Deejay

Fergie’s (1214 Sansom St.) FRI Live Band Karaoke, SAT Jac with No K, SUN Rusty Cadillac 

Connie’s Ric Rac (1132 S. 9th St.) SAT Super Bonanza

The Tusk (430 South St.) FRI Fad Nauseam, SAT Descendency

Century (1350 S. 29th St.) FRI Hotflakes (Tape Release), Shy Boyz, SAT Mob Mentality, SUN Necrosexual, Fucktomb, Tartarus Horde, Signs of Madness

Morgan’s Pier (221 N. Columbus Blvd.) FRI DJ Beatstreet, SAT DJ Ricky Lee, SUN Menace Cartel

Frankie Bradley’s (1320 Chancellor St.) FRI DJ Chris Urban, SAT DJ Shawn Ryan

The Grape Room (105 Grape St.) SAT Naps Past Noon, New Alone, Adam Travis

Ardmore Music Hall (23 E. Lancaster Ave.) FRI Chris Kasper, SUN A Tribute Darryl Ray: Dynagroove, Tommy Conwell

Beautiful World Syndicate (1619 E. Passyunk Ave.) SAT Fast Car Slow Car (EP Release), Body Meat, EM-E

Creep Records (1050 N. Hancock St.) FRI Ashes to Vanity

The Pharmacy (1300 S. 18th St.) FRI Insignificant Others, SAT Jesse Gimbel, Knightlife, Riverby

Warehouse on Watts (923 N. Watts St.) SAT DJ Lean Wit It

Tralfamadore (Please contact one of the acts or venue for more info.) SAT The Skating Party, Bern and the Bastards, Elissa Janelle Velveteen, Miracle Swill, Barry Dwier

Hubris House (Please contact one of the acts or venue for more info.) FRI Bug Martin, Sami Rahman, Heck

Anthorna Gallery (Please contact one of the acts or venue for more info.) FRI Scyphodemo, Beige Monk

The Waiting Room (Please contact one of the acts or venue for more info.) SAT Moonroof, Elaine Rasnake, Rasan In The Heyday (solo)

Free Candy (Please contact one of the acts or venue for more info.) FRI Countdown from Ten, Echo Lad

Cousin Danny’s (Please contact one of the acts or venue for more info.) FRI Precolumbian

Clark Park Fest (4300-4398 Baltimore Ave.) SAT Selina Carrera, Levee Drivers, Northern Liberties, Beach Bod, goodnight/goodluck, Dr Ketchup, Revolution, I Love You, Instant Bingo, The Mary Veils, Mizloonar and the Truth





New Dreamswell LP Available for Streaming & Purchase

SPOILED, the first full-length album from the quartet of Dreamswell, is out now. The band transports you to its quaking, gauzy underworld, with its latest release. Peaceful/pummeling melodies forge ahead and invite you to follow them to desolate spaces, providing room to explore your own thoughts. On Friday, July 12, Boot & Saddle will host Dreamswell’s record release show, with Witching, Sold, and Stay At Home Dads.





Ultra Major brings '90s inspired guitar sound to Baby's All Right on 07.11

"I don't care what you think about it / because everything is perfect," the lyrics of "Lost in the Moment" say. The line is appropriately groveled and sung by Ultra Major, bringing listeners into four or so minutes of existential self-reflection, within an in-your-face sonic environment. In keeping with the best rock'n'roll tradition, both their singles released to date ("Lost in the Moment" and "Drag") promote of letting go of control, revealing influences by '90s heavyweights like Foo Fighters and Smashing Punpkins with an added emo element to the mix.  

The band's sonic identity consists of muddy, distorted guitars, fast-paced drums, and filtered vocals. Their lyrics, which channel apathy and existentialism in ways alternatively soft and dramatic, bring up big questions regarding personal search and the quest for peace of mind - without providing answers. While "Lost in the Moment" makes the case for isolation and solace, "Drag" assures the listener that moving forward is the only answer. You'll be able to see the group live at Baby's All Right on July 11th. - Susan Moon

 

 

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