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New Music Video: "Wish We Talked Still" - Hello Shark

Below is a new music video for the single, "Wish We Talked Still," by Hello Shark, a.k.a. Lincoln Halloran. Directed by Free Cake For Every Creature's Katie Bennett, the footage was shot on Super 8 film, casting a reflective, daydream haze over the city of Philadelphia and the video's cast of characters. The sentimental visual and audio coupling makes us long to reconnect with lost loves, though we all know that some things are best buried in the past in the back of our memories. You can find "Wish We Talked Still" on Hello Shark's latest LP, Delicate, out now via Orindal Records. (Photo by Abi Reimold)





Three new videos by NYC artists Elliot Moss, Margaret Glaspy, Beau.

Here are three brand new music videos released by more established NYC artists we often covered in this blog: Margaret Glaspy, Elliot Moss and BEAU.

 





Video Premiere: "Suzie Lynn" - Joy Riding

Joy Riding pay homage to a flaxen-haired, Strong Man sideline reporter in the video for “Suzie Lynn,” found on the quartet’s forthcoming album You’re So Smart. A montage of humorous (in hindsight) but intense (in the moment) competition footage filters across the screen as the power-pop ode is littered with 80’s nostalgia, including its futuristic yet simple credit sequence. The video was playfully edited by Jeffery John Massino. Joy Riding are slated to perform at Bourbon & Branch, alongside The Only Ghost in Town & Sad Juror, on November 16, and they were just added to the December 9th bill at Underground Arts with Matt Pond PA.





Pile to play Great Scott 11/17

Listening to Pile is kind of like being in the eye of a storm--there are brief moments of calm, punctuated by the cacophony of the hurricane hurling around you. A lot of what makes the band so engaging to listen to is that while they certainly deliver the head-nod worthy riffs of an indie rock band, they're also explosive and driving--constantly pushing the limits of simple song structures and edging toward blanketing the listener in total noise. The result is an unpredictable sonic experience with expert dynamic play, and gleaming, textbook examples of bridled chaos. If the sky ever cracks open, this may be your soundtrack to the end of the world. Check out Pile 11/17 at Great Scott with Palm and Dust from 1000 Years, and listen to them streaming below.-Olivia Sisinni

 





The Deli Philly’s November Record of the Month: Romantic - Mannequin Pussy

Mannequin Pussy’s second LP, Romantic (Tiny Engines), opens without a shred of warning or restraint. Full throttle and in your face, the full-length’s initial statement, “Kiss,” is an anthem of self-care and self-acceptance, whose teeth sink deep into the spine of its listener. Brief but memorable, the song is delectably abrasive, fueled by heart and hunger.
 
The album’s title track, “Romantic,” is equally fierce, but more melodic. As frontwoman Marisa Dabice’s vocals rise above the tidal crash of swelling riffs and cymbals, it is difficult not to think of Courtney Love circa Live Through This or Kim Gordon’s angst-filled diction on “Drunken Butterfly”. The calm between “Romantic” and “Ten” is momentary before the fast-paced punk balladbarely a minute in length – unfolds, serving in a way as an energetic and impassioned prelude to the nostalgia-laden “Emotional High”. Straightforwardly heartfelt, Romantic’s third offering is like a valentine or text message never sent to the friend that you wish was more than a friend. “I wanted you to know that darling, if you’re lonely, you know what you gotta do, all you gotta do is call.” Dabice sings in a warm tone that later evolves into fervent screams during “Pledge”.
 
Mannequin Pussy’s ability to transition between melody and dissonance from track to track is mesmerizing, making the poppy hook of “Denial” as effective as the deliberate bombast of “Everything”. An audible coupling of yin and yang, Romantic captures the dark and light side of longing, passion, and love. “Anything,” a probable epilogue for “Everything,” is a grunge-y testament to intimacy and the elusive and ever-changing nature of desire.
 
“Meatslave One” and “Hey, Steven,” much like the songs that precede them, are anything but coy, confronting listeners with the directness of an unblinking and all-seeing eye. Ending with harmony-laden “Beside Myself,” Romantic’s final moments are much like its first – unshakably fervent and sincere. - Dianca London

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