Mannequin Pussy – ‘I Got Heaven’ album review: the most distilled version of the band yet
THE SKINNY: Mannequin Pussy might have been a favourite of alt-rock and punk lovers for a minute, with three lauded albums since 2014, but their new studio-length effort, the aptly named I Got Heaven, is undoubtedly their crowning achievement to date. Comprised of the latest iteration of the band, together they have created an effort bearing all the hallmarks of a contemporary classic.
Let’s not get it twisted, Mannequin Pussy have always been fantastically adept at blending. A punk band at heart that pushes back against the rigid trappings of tags and genres, I Got Heaven is the distillation of a band taking another step towards their ultimate creative destiny, whatever that may look like. The complex mass of emotions they have always covered remain, but they are inspected with more profundity and lyrical nouse than before.
The dynamic vocal delivery is as full-bodied and affecting as possible, working in tandem with essential poetry, which covers everything from love to utter revulsion of the pervasive and nefarious influence of Christianity in America. Augmented by the equally impactful guitar playing, you get the sense that Mannequin Pussy are growing in confidence and solidifying their niche.
Marisa Dabice sets a precedent, too, with each member shining and working together to create a sonic palette that’s as gripping as anything I’ve heard this year. It must also be said that Maxine Steen’s keys add another welcome element to the party, used adroitly as and when to really drive the music’s sentiment home.
On I Got Heaven, we find Mannequin Pussy accepting who they are, jumping headfirst into their future. Revitalised and unafraid to do whatever the hell they like, safe in the knowledge that the band is their space to be angry, unruly, sad, and any other mood that naturally springs up, they have opened themselves up to a future that promises to be extremely fruitful.
For fans of: Righteous rebellion, tearing down bigoted institutions, and a good ‘ol bonk after a long day of setting the world to rights.
A concluding comment from an anonymous civil servant: “Get the Prime Minister to the helicopter… the barbarians are at the gates.”
I Got Heaven track by track:
Release Date: March 1st | Producer: John Congleton | Label: Epitaph
‘I Got Heaven’: You don’t often find album openers as resounding as this one. Kicking off covered in a jilted, radio-esque effect harbouring Dabice’s playful harmony – central to her verse vocals – this cloak is quickly cast off for something incredibly affecting. The song takes us on an incisive critique of modern Christianity. Weaving in and out of furious punk in the verses and utterly exquisite pop harmonies in the choruses, this is the new-look version of the band at its very finest. It’s just immense. [5/5]
‘Loud Bark’: A total banger, this slow builder is one of the highlights of I Got Heaven. Dabice’s vocals are stirring, starting somewhat whispered and introspective-sounding before they grow in force with the music. When the music crashes through the mix, there’s just everything you want from Mannequin Pussy. [5/5]
‘Nothing Like’: A reflection of the broad church of influences that Mannequin Pussy have, ‘Nothing Like’ is carried by a dancey beat that brings to mind the heady dance scene of the turn of the millennium. Initially, Dabice’s vocals are incredibly expressive as they float atop the wistful strums and beat. Later, the tenderness of the verse is counterbalanced by the direct nature of the chorus, where she sings, “and I / I kept you waiting”. Mark my words; this is made for the live setting. [4.5/5]
‘I Don’t Know You’: If ‘I Got Heaven’ doesn’t go down as the ultimate Mannequin Pussy song, then this will. It is as close to a perfect contemporary alternative rock effort as you’re likely to get, brimming with the band’s character, with all uniting once more in artistic verve. Beautiful, dramatic, and undeniably melancholic, this is Mannequin Pussy killing it on all fronts. Maxine Steen’s potent keys and the towering sound of Dabice’s droning guitar are manifestations of this new and refined character. [5/5]
‘Sometimes’: This track sees the group refine their grungey predilections by weaving between softer verses and full-frontal choruses, with the dovetailing nature of Dabice’s vocals and guitar playing working perfectly. The haunted backing vocals, atmospheric synths, and fuzzy guitars. The airy closing section is also near-perfect, with the band letting the space do the talking. [4.5/5]
‘OK! OK! OK! OK!’: While Mannequin Pussy might be in a new epoch, they have not foregone their penchant for heavy rippers. A fusion of the related power-violence and hardcore genres, with a touch of horror punk thrown in, this is another that that will go off in the live setting. Standing out from the body of work as a duet between Dabice and Regisford, it’s absolutely batshit, in the best way possible, with that chugging chord progression just after the 20-second mark, one of the best on I Got Heaven, despite how fleeting it is. [4/5]
‘Tell Me Softly’: Commencing with just Dabice’s singing and guitar, the band quickly blast through the speakers, shattering the equilibrium and yet again, their intersection of heaviness and tenderness is fully compelling. The frontwoman’s vocals are as dynamic as possible, with the group all shining on their respective instruments. Props again go to Steen’s keyboard work, with that dream-like run in the first verse so greatly affecting. [4/5]
‘Of Her’: Once again, Mannequin Pussy assert why they will never ignore their punk roots. Just over 90 seconds of frenetic energy, the churning guitars and Regisford’s bass are propped up by Reading’s unrelenting drumming, which, it must be said, is underrated across the band’s back catalogue. The song is given another edge via a touch of Ministry-influenced industrial with the metallic clangs of the strings. The droning noise introduced in the final moments, and the gain on the output being turned cranked to heighten the intensity. Totally bonkers. [4/5]
‘Aching’: Another slice of unabashed anger, this side of Mannequin Pussy is certainly effective. Dabice can be incredibly in your face when she wants to, with the guitars and general energy ramped up to the maximum clipping point. A smoke-spitting train racing headfirst off the cliff, this is going straight on my workout playlist. [4/5]
‘Split Me Open’: A perfect way to bring the curtain down on Mannequin Pussy’s current chef d’oeuvre. A final convergence of the broad emotions they play with, it’s both tender and rousing. It starts slowly, keeping us suspended on the choppy guitar strums and Dabice’s airy vocals before the energy slowly builds into something heavier. When it boils over, it’s complete with unifying “da da da” background vocals, which help complete a fitting finale, where Dabice repeatedly growls, “Nothing’s gonna change”, as the synth and the rest of the music triumphantly reach the finish line. [4/5]
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