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Alt Rock





Tripp Lullaby's "Bundles of Joys" is an alternative-sounding spatial distortion, 30th-anniversary show 07.12

The men of Tripp Lullaby are in the middle of a time warp, an alternative-sounding spatial distortion: the band's 1990 recordings have been unearthed, remixed and remastered by Duane Trower for 2019 audiences looking to peek at New England's alt-rock beginnings. Tripp Lullaby was and still is based in Cape Cod, MA. The band's scene, nearly thirty years ago, included groups with names readers here may recognize such as The Freeze and Green Day. Bundles of Joys is the band's trip down memory lane, and it is loaded with classic punk beats, post-rock guitar flourishes, raw vocals, and now a luscious glaze of nostalgia. The band's compilation of tapes is indeed a time relic that gifts listeners an intimate experience with an alternative group that was then being defined by the seismic changes of the music world around them, by the winds of the sonic storm of grunge fast approaching. The band is celebrating their 30th anniversary with a record release show at Devil's Purse Brewing Company in South Dennis, MA on July 12th. We are streaming "Reality Sucks" for you below. - Rene Cobar





Song Premiere: Trickshooter Social Club “Duck and Run"

We are proud to be able to premiere a new song, “Duck and Run”, from the forthcoming album, American Experiment, from Trickshooter Social Club. This is the band’s third studio album, and first since 2016’s Generator. “Duck and Run” is a scorching blues-tinged rocker that definitely gave us something we wanted.

This is the work of Steve Simoncic, Larry Liss, James McNaughton, Chris Bartley, Chris Ellison, Maggie Mitchell, Beltran Del Campo, and Ruth Margraff.

You can help Trickshooter Social Club celebrate the release of their album at Silvie's Lounge on July 12th with William Sides Atari Party, The Architects of Beauty and Liz and the Baguettes.





Music Blesses America at High Sierra Music Festival

Looking for something fun to do this 4th of July weekend? Do you love you some great mountains majesty, music of all shapes and genres, and food? Beverages? Trees? Camping? We recommend the High Sierra Music Festival for some good ol’ fashioned American purity. From Dispatch to Jim James, Del & Dawg to The New Mastersounds, the festival has something for most musical tastes. It’s like Burning Man but peaceful. Local favorites include Midnight North, Royal Jelly Live, Rainbow Girls, More Fatter and Eric Long. The festival runs from July 4th thru 7th in the lovely Quincy, Ca. We hope to see you there and tell us post-fest: which acts were your highlights? Land of the free, home of some killer music. May music bless America! - Michelle Kicherer, Associate Editor

 

 





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

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