#Marisa Dabice

[andrrrgynous]

missy from mannequin pussy by ivy owens

[iamdangerace]

[girldickdotcom]

Marisa Dabice shot bt Hans Vermuelen in 2019

[thebowerypresents]

Mannequin Pussy Bring Terrific New Album to Sold-Out Brooklyn Steel

Mannequin Pussy – Brooklyn Steel – May 16, 2024

Maybe you hadn’t seen them before. Maybe someone brought you. Maybe you were there alone. If any of the above applied, Mannequin Pussy heard you. They get you. If there was an overarching message at Brooklyn Steel on Thursday night, it was that you were welcome. More than welcome: You were invited to scream. Literally. 

Marisa Dabice, lead vocalist, reprised a Mannequin Pussy standby — an overture to the audience to recognize their anger, embrace it and move it out of their systems. In a breathy voice that built to pure id, Dabice, to cheers and whoops, declared the world of politicians and the like all pure “bullshit.” This was an evocative moment and also a marker in a set that built shockingly linearly from the anthemic indie feels to the raw power reminiscent of older albums that made Mannequin Pussy must-see. 

The yearning of “Sometimes” gave way to “Loud Bark” gave way to “Aching” gave way to “Clams” — the first three off Mannequin Pussy’s new LP, I Got Heaven. A steady turnup that I’m sure was carefully planned. Dabice was a vision, keeping the energy hot and heightened. And I hope the band’s heights were realized. Looking at the sold-out crowd of deeply loyal listeners, some made that very night, I’d say they were. —Rachel Brody | @RachelCBrody

(Mannequin Pussy play Union Transfer in Philadelphia on Sunday.)

(Mannequin Pussy play Union Transfer in Philadelphia on 5/22.)

(Mannequin Pussy play Union Transfer in Philadelphia on 5/23.)

(Mannequin Pussy play Asbury Lanes in Asbury Park, N.J., on 9/27.)

Photos courtesy of Edwina Hay | thisisnotaphotograph.com

[thesearenotphotographs]

Mannequin Pussy and Soul Glo at Brooklyn Steel

On Thursday, May 16, 2024, the I Got Heaven Tour featuring Philadelphia, PA punk bands Mannequin Pussy and Soul Glo arrived to Brooklyn Steel in Brooklyn, NY for a sold out show. The Epitaph Records labelmates performed songs of their respective releases I Got Heaven and Diaspora Problems.

I covered Mannequin Pussy’s set for Bowery Presents’ The House List and my images of them, with a review by Rachel Brody, can be found here.

Photos from Soul Glo’s amazing opening set can be found in this post on my website beneath the Mannequin Pussy images. If you haven’t checked out their performance on NPR’s Tiny Desk, you can do so right here.

[slrmagazine]

New MANNEQUIN PUSSY album "I Got Heaven" Out Today on Epitaph Records

New MANNEQUIN PUSSY album "I Got Heaven" Out Today on Epitaph Records. #mannequinpussy @mannequinpussy

Mannequin Pussy release I Got Heaven, their anticipated fourth full-length album, today on Epitaph Records. Filled with cathartic tunes about despairing times, I Got Heaven is a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive.  Over 10 ambitious tracks that abruptly turn from searing punk to inviting pop, the album is deeply…

[reckonslepoisson]

Romantic (2016), Patience (2019), I Got Heaven (2024), Mannequin Pussy 

A punk band with a really tuneful, sensitive edge that has, over nearly a decade, not even slightly dulled, Mannequin Pussy’s balance of tenderness and aggression enables the group to reach overwhelmingly intense emotional heights. Lead singer Marisa Dabice’s ability to throttle a listener with empathy is unmatched in popular punk (and punk-ish) music.

Pick(s): ‘Denial’, ‘Drunk II’, ‘I Don’t Know You’

[spaghttioboobio]

SONG OF THE DAY

Day #5

Today’s choice is punk rock alternative banger I Got Heaven by American group Mannequin Pussy. The title track to their 2024 album, this one shoots out the gate running with take no prisoner lyrics barking about desire and feminism. The song using animalistic and religious symbolism moves from shouted and almost moaned sections to a softer chorus where vocalist Marisa Dabice describes herself as a message from grace itself. The sounds roll and shake through you with gritty drums and strings, and with lyrics such as “what if Jesus himself ate my fucking snatch” set against “I've got heaven inside of me… I'm an angel I was sent here to keep you company” this one grabs you and takes no prisoners. I fucking love it.

“I go and walk myself outside, a dog without a leash

Now l am growling at a stranger, I am biting at their knees”

P.S. Mysterious internet force if you like this one I also recommend Australian alternative/rock/grunge project Full Flower Moon Band, specifically their recent album Megaflower.

[groovesnjams]

27 / 50

"I Got Heaven" by Mannequin Pussy

MG:

Like their spiritual predecessors Hole, on "I Got Heaven" Mannequin Pussy are striving for ferocious grime, untethered rage, righteous fervor and succumbing to beauty. For every howled "I'm stuck inside my loneliness/ I'm stuck inside my grief" there's a broken beam of light that coos "Oh, I got heaven inside me" and even though it gets less of the song's runtime, it's that glowing, spectral beauty that overwhelms and smooths the jagged edges. It's impossible to maintain, to sustain, that red hot energy even when we want desperately for that fire to keep us warm forever, for that anger to be the final feeling that suffocates every more delicate feeling beneath its reflective surface. Marisa Dabice doesn't owe us relief from the ugliness that drives "I Got Heaven" but neither does she refuse it when it wriggles its way inside the chorus.

DV:

Righteous and ferocious, "I Got Heaven" is a revenge song - not for anything the singer has experienced directly, but on behalf of someone else. We never quite learn the particulars of the wrong that's been committed, but we can trace the outline of its absence. Mannequin suffuse the song with anger, but also with love - for whoever they're defending, for themselves, for the better world we deserve. "I was sent here/ To keep you company", the chorus coos, and it's a soothing protective balm in contrast to the visceral fury of the verses. But after the first verse, "I Got Heaven" is a loud song throughout - whether the lyrics are kind or raging. It's a reminder that there is value in performance of these reactions and emotions, in not just doing something but publicly delineating what you do and why. Making noise is a virtue, or at least, it can be. What else is a protest but a manifestation of love - and anger?

[eurydicerue]

But it's not really socially acceptable to express rage like that because I think, one, it's seen as being unattractive, which is, I think, the cardinal sin of being a woman is to be unattractive. Two, it's scary, which I think is the second cardinal sin of being a woman is to be scary or unapproachable. And then third, once you realize that maybe those things don't matter, you're able to create your own spaces where those things are acceptable

Marisa Dabice of Mannequin Pussy

[andrrrgynous]

missy from mannequin pussy via x

[girldickdotcom]

MARISA DABICE

photos by Toby Tenenbaum

[chrisryanspeaks]

Militarie Gun Unleashes Electrifying New Single "Thought You Were Waving" with Thrilling Video!

Militarie Gun, the Los Angeles-based hardcore band, is back with their new single “Thought You Were Waving,” accompanied by a cheeky Neta Ben Ezra-directed video that portrays the band in unruly and dangerous situations. Premiered by Zane Lowe on his New Music Daily show, this track marks the first fresh material from the band since their acclaimed debut album, "Life Under The Gun," released last year. This new release, created with the talented Zachary Dawes (known for his work with Lana Del Rey, Sharon Van Etten, Bully, and Elton John), signals a promising new chapter for Militarie Gun. The single follows closely on the heels of “Gun Under The Gun (MFG),” a track created for the WWE 2K24 video game as the entrance music for Post Malone's wrestling character. Post Malone also included the band's hit "Do It Faster" on his curated playlist for the game's soundtrack, underscoring the band’s growing influence in the music scene. Militarie Gun has been on an international tear, recently wrapping up a series of headline and support shows with Hockey Dad in Australia. Their globetrotting schedule continues through the end of the year, highlighted by a highly anticipated hometown show in Los Angeles on July 25th, supported by Gouge Away, Heart to Gold, and Human Garbage. Festival appearances at Lollapalooza, Project Pabst, Thing Festival, Reading & Leeds, Louder Than Life, and Aftershock are also on the horizon. Additionally, the band will embark on a European tour with Lip Critic, Pluto The Racer, Never Yours, Chiefland, daysdaysdays, and Tripsun on select dates, and will join Manchester Orchestra for the 10-year anniversary tour of their album "COPE" across North America in September. Tickets for all upcoming shows can be found here. Earlier this year, Militarie Gun released "Live Under The Sun," a mini-documentary that showcases the band and their collaborators reimagining tracks from the "Life Under The Sun" EP at Manchester Orchestra’s Atlanta studio. Featuring guest performances from Manchester Orchestra, Marisa Dabice of Mannequin Pussy, and Christine Goodwyne of Pool Kids, this documentary highlights the dynamic and expectation-defying songwriting of bandleader Ian Shelton and the growing community around Militarie Gun. "Life Under The Sun" strips back a selection of songs from their debut album "Life Under The Gun," placing Ian Shelton’s intensely personal songwriting at the forefront. The EP includes standout tracks like "Never Fucked Up Twice" featuring Bully's Alicia Bognanno, "Very High (Under The Sun)," "My Friends Are Having A Hard Time" featuring Manchester Orchestra, "Will Logic" featuring Mannequin Pussy, and a cover of NOFX’s "Whoops I OD'd." "Life Under The Gun" was one of 2023’s most celebrated albums, earning praise from Rolling Stone, Pitchfork, NME, Revolver, Stereogum, SPIN, Paste, The FADER, and more. It landed on multiple best-of-2023 lists, including those from Alternative Press, The Ringer, UPROXX, Stereogum, and Rolling Stone, who noted that the album "takes everything that’s uniquely cathartic about hardcore and lacquers it with insanely catchy melodies." The album's infectious appeal was showcased in Taco Bell's ad campaign featuring "Do It Faster." Read the full article

[sinceileftyoublog]

Pitchfork Music Festival 2024: 6 Can’t-miss Non-headliner Sets

Jessica Pratt; Photo by Samuel Hess

BY JORDAN MAINZER

If you had told me in 2014 that a Grammy-friendly psych soul band, a producer who hasn't released an album in almost a decade, and, uh, Alanis Morissette were headlining Pitchfork Music Festival, my jaw would have dropped. Don't get me wrong: I was still surprised when I saw the lineup announcement. But overall, Pitchfork has been heading in a more populist, legacy-based, and pop-friendly direction for a while now, both as a publication and a summer festival. And while I'm just as excited as the next person to belt "Hand in My Pocket" and boogie to "I Know There's Gonna Be (Good Times)", the undercard has always been where it's at for me. Here are 6 non-headliner sets you simply cannot afford to miss.

Photo by Asia Harman

FRIDAY

Rosali, 2:45 P.M., Blue Stage

Indie rocker Rosali Middleman leads her band, Mowed Sound, into what will hopefully be a sunny, yet shady set on Pitchfork's most underrated stage, an effective host for sounds both quiet and loud. Rosali's most recent album Bite Down (Merge) occupies a middle territory. Songs like "Hills on Fire", "Slow Pain", and "Rewind" sport that quintessential Rosali "hard won ease" but not before subtle freak-outs threaten your bliss. It's perfect late afternoon music.

Photo courtesy of Big Beat Records

100 Gecs, 6:15 P.M., Green Stage

The hyperpop duo of Dylan Brady and Laura Les are a year and change removed from releasing their incredible sophomore album 10,000 gecs (Dog Show/Atlantic) and are still touring strong off of that record's combination of earnestness and absurdism. Since we last previewed them, they officially released (via XL) their remix of the Basement Jaxx classic "Where's Your Head At", debuted during a Boiler Room set last year. Who knows what tricks they might pull mere hours before the sun sets on the first day of Pitchfork?

SATURDAY

Photo courtesy of Press

Kara Jackson, 2:30 P.M., Green Stage

Since we last caught the Oak Park singer-songwriter, she's simply toured the hell out of her stellar debut album Why Does The Earth Give Us People To Love? (September) and released a studio version of the cover song she tends to open her sets with: Karen Dalton’s “Right, Wrong or Ready”. But Jackson's hometown afternoon set at the Green Stage will be more than a victory lap. Judging by recent Instagram stories from album collaborators KAINA and Sen Morimoto, this may be a full-band show, more faithful to the full arrangements of the album than the acoustic sets Jackson's been giving. Really, it should be like hearing the record anew.

Photo by Brandon McClain

Wednesday, 4:15 P.M., Green Stage

Simply put, the Asheville country-gazers' Rat Saw God (Dead Oceans) was one of the finest albums of last year, with its mix of Southern poetry and steel guitar freak-outs. Live, they only amp up the urgency, lead vocalist Karly Hartzman morphing on a dime from yodel to scream as guitarist MJ Lenderman, lap steel player Xandy Chelmis, bassist Ethan Baechtold, and drummer Alan Miller build songs from a twangy choogle to a pummeling finish. Watch Wednesday with a beer in hand and take in their darkly humorous tales of desperation--and perhaps an inspired cover or two.

SUNDAY

Photo by Renee Parkhurst

Jessica Pratt, 4:15 P.M., Green Stage

You'll hear that Here in the Pitch (Mexican Summer), singer-songwriter Jessica Pratt's long-awaited follow-up album to 2019's Quiet Signs, features a comparatively "expansive" sound. It's certainly true, the self-labeled perfectionist having taken three and a half years to make a less-than-30-minute album, one rife with echoing percussion and lush orchestration, featuring collaborators old and new. Watching the full-band performance of opening track "Life Is" from The Late Show with Stephen Colbert certainly has me excited to hear these songs come to life on a main Pitchfork stage. Ultimately, though, what mesmerizes me about Here in the Pitch, and Pratt in general, is how front and center she remains no matter how big the backing noise. Her wordless vocals curve around Al Carlson's baritone saxophone on "Better Hate". The all-encompassing quality of her singing matches the inherent eeriness of the organ and rippling drum machine on "Nowhere It Was". She even plays drums on "World on a String", her supposed take on teenage garage rock. A master of entities as concrete as wordplay and as abstract as vibes, she sings, "I want to be the sunlight of the century / I want to be a vestige of our senses free." May we all aspire to be that influential.

Photo by CJ Harvey

Mannequin Pussy, 5:15 P.M., Blue Stage

A new band member and new creative process help spur what may be Mannequin Pussy's best album to date. I Got Heaven (Epitaph), the follow-up LP to 2019's excellent Patience, was the band's first album with multi-instrumentalist Maxine Steen as a full-time member, and it was written in LA with prolific producer John Congleton instead of each band member writing separately at home. The result is a punk band as versatile as they've ever been, something that should stand out during their early evening Blue Stage set on the last day of Pitchfork. Sure, a pent-up crowd will want to yell, "Loud bark, deep bite!" back at Marisa Dabice, and the instantly quotable title track should yield cathartic live experiences till the end of time, whether or not you feel subsumed by Christian hypocrisy like the song's narrator does. But many of the highlights on I Got Heaven showcase the band's softer side. The bossa nova-esque guitars, sparkly synths, and brushed drums of "I Don't Know You" take their time to build up to enveloping shoegaze, while the Buffy the Vampire Slayer-inspired "Nothing Like" juxtaposes a shuffling drum beat with hazy, dreamy guitar akin to late 90s Smashing Pumpkins. And really, during Brat Girl Summer, what will be more anthemic than these words Dabice sings during the horny, slow-building "Split Me Open"? "I'm worried I want you with the power of a thousand suns burning as one."

[audiofuzz]

Militarie Gun Unleashes Electrifying New Single "Thought You Were Waving" with Thrilling Video!

Militarie Gun, the Los Angeles-based hardcore band, is back with their new single “Thought You Were Waving,” accompanied by a cheeky Neta Ben Ezra-directed video that portrays the band in unruly and dangerous situations. Premiered by Zane Lowe on his New Music Daily show, this track marks the first fresh material from the band since their acclaimed debut album, "Life Under The Gun," released last year. This new release, created with the talented Zachary Dawes (known for his work with Lana Del Rey, Sharon Van Etten, Bully, and Elton John), signals a promising new chapter for Militarie Gun. The single follows closely on the heels of “Gun Under The Gun (MFG),” a track created for the WWE 2K24 video game as the entrance music for Post Malone's wrestling character. Post Malone also included the band's hit "Do It Faster" on his curated playlist for the game's soundtrack, underscoring the band’s growing influence in the music scene. Militarie Gun has been on an international tear, recently wrapping up a series of headline and support shows with Hockey Dad in Australia. Their globetrotting schedule continues through the end of the year, highlighted by a highly anticipated hometown show in Los Angeles on July 25th, supported by Gouge Away, Heart to Gold, and Human Garbage. Festival appearances at Lollapalooza, Project Pabst, Thing Festival, Reading & Leeds, Louder Than Life, and Aftershock are also on the horizon. Additionally, the band will embark on a European tour with Lip Critic, Pluto The Racer, Never Yours, Chiefland, daysdaysdays, and Tripsun on select dates, and will join Manchester Orchestra for the 10-year anniversary tour of their album "COPE" across North America in September. Tickets for all upcoming shows can be found here. Earlier this year, Militarie Gun released "Live Under The Sun," a mini-documentary that showcases the band and their collaborators reimagining tracks from the "Life Under The Sun" EP at Manchester Orchestra’s Atlanta studio. Featuring guest performances from Manchester Orchestra, Marisa Dabice of Mannequin Pussy, and Christine Goodwyne of Pool Kids, this documentary highlights the dynamic and expectation-defying songwriting of bandleader Ian Shelton and the growing community around Militarie Gun. "Life Under The Sun" strips back a selection of songs from their debut album "Life Under The Gun," placing Ian Shelton’s intensely personal songwriting at the forefront. The EP includes standout tracks like "Never Fucked Up Twice" featuring Bully's Alicia Bognanno, "Very High (Under The Sun)," "My Friends Are Having A Hard Time" featuring Manchester Orchestra, "Will Logic" featuring Mannequin Pussy, and a cover of NOFX’s "Whoops I OD'd." "Life Under The Gun" was one of 2023’s most celebrated albums, earning praise from Rolling Stone, Pitchfork, NME, Revolver, Stereogum, SPIN, Paste, The FADER, and more. It landed on multiple best-of-2023 lists, including those from Alternative Press, The Ringer, UPROXX, Stereogum, and Rolling Stone, who noted that the album "takes everything that’s uniquely cathartic about hardcore and lacquers it with insanely catchy melodies." The album's infectious appeal was showcased in Taco Bell's ad campaign featuring "Do It Faster." Read the full article

[theeverlastingshade]

I Got Heaven- Mannequin Pussy

The arc of musicians who started making music that could reasonably be described as challenging for any number of reasons before gradually softening their edges with a more populist sensibility is one of the most tried and true that I can think of, but few have pulled it off in the past decade as superbly as Mannequin Pussy. From their searing self-titled 2014 debut to their pristine third LP, Patience, in 2019, the Philly 4 piece progressed from hardcore to noise pop-rock over the course of 3 increasingly assured and singular sounding records thanks in large part to the dynamic singing and songwriting of frontwoman Marisa Dabice. While many artists tend to lose their idiosyncrasies to make room for a more palatable sound, MP have only become stranger, and harder to pin down with each increasingly accessible subsequent record. MP’s recently released 4th LP, I Got Heaven, is the latest record within this progression, and to the surprise of no one who’s been paying attention, it’s the band’s most adventurous and well-realized record to date.

IGH isn’t a dramatic stylistic leap for MP, but it’s easily the most potent and refined their music has ever sounded, particularly on the album’s four singles.  “I Got Heaven” and “Sometimes” are masterclasses in building /sustaining tension and balancing abrasion with immediacy, with the former gathering steam towards a coda seething with catharsis, and the latter simmering along a groove that flips from sugar to shrapnel on a dime. 2nd single and highlight “I Don’t Know You” transitions from understated bubble-gum pop to their definitive shoegaze anthem with seamless precision, while the trip-hop informed final single, “Nothing Like”, is their purest pop moment to date, and the sort of propulsive juggernaut that would’ve absolutely dominated MTV back when they championed guitar-based music. And while the singles showcase the most significant growth, “Softly” and closer “Split Me Open” are just as tuneful as anything else here. There are songs from past releases like “Drunk II” and “Perfect” where they’ve superbly distilled their pop instincts, but none of their past work is quite this ambitious. The scope of these songs and the performances on each are consistently striking, and they represent the pinnacle of MP’s dynamic songwriting to date.

While most of the songs on IGH suggest that MP have completed their metamorphosis by shedding their hardcore identity, there are still a few hardcore songs scattered throughout the back half that prove that MP aren't interested in completely forsaking their roots just yet. “OK? OK! OK? OK!” barrels along a propulsive rhythm perpetually in a state of flux, giving it an uneasy, unpredictable allure as Marisa brandishes some particularly nasty snarls, and it’s the best of the bunch. “Of Her” features some nimble drumming and a sublime guitar tone on its 2nd half, while “Aching” is another tight showcase of Marisa’s snarls, but neither feel essential. The hardcore offerings are good, but they aren’t anywhere near as compelling as the songs on side a, and 1 or 2 of them could’ve been cut without really disrupting the flow or force of IGH on the whole. It’s not so much the overall impact of the hardcore songs in general as it is the sequencing of the record that particularly suffers from their inclusion. The first half rides one glorious peak to the next while some of the momentum on side b falters when the last few hardcore cuts begin to bleed into each other before closer “Split Me Open” swoops in to end the record on a satisfying resolution. But even these minor gripes don’t diminish how strong the vast majority of this music is.

Marisa’s writing has always struck a visceral, politically charged chord, and while IGH is no exception in this regard it features more than its fair share of her sharpest lyrics yet with a heightened focus on love and lust. Opening song and title track “I Got Heaven” lays it all out with the already iconic “And what if we stopped spinning/And what if we’re just flat/And what if Jesus himself ate my fucking snatch” within the context of a rallying cry against the institution of weaponized Christianity, and the rest of the songs on IGH sustain the impassioned tenor conjured here. While there are songs like the title track that find Marisa baring her fangs, on the other side of the spectrum lies “Nothing Like”, which exudes the ecstasy of new love with an almost overwhelming, delirious desire “Nothing like the taste of you/I whisper into words I won’t admit”. The magic of IGH reveals itself in the multifaceted range of Marisa’s songwriting, which delivers volatile blow after blow even in moments of relatively quiet reprieve. On “Split Me Open”, Marisa seems to seek an intimate connection but only if it adheres to her terms and nothing less, with each incessant “Nothing’s going to change” landing like an increasingly fatal body blow amidst the bright, wordless harmonies and infectious guitar riffs surrounding it. After a decade of being a great punk band, it’s extremely satisfying to hear MP continue their evolution into something far bolder, but just as compelling.

Essentials: “I Don’t Know You”, “I Got Heaven”, “Sometimes”