Summer 2024 I had put on a miscellaneous new release radio, as I so often do, fully unaware and unsuspecting of the musical onset that would soon follow. Bashing the doors down (or rather the speakers) into the Drone Shop came this recent release from the Philadelphia centered band Mannequin Pussy. Released at the start of March 2024 I Got Heaven absolutely blew me away. From the hits that open the self-titled track all the way to the last little lush synth outro concluding the record, I was recurringly pulled back into depths of the record forcing me to start back at the top. I was amazed at how much I kept coming back to I Got Heaven. I would find that no matter what music I was putting on, I would throw this record in the midst and love it! Of course needing to replay through it at least several more times.

The record opens on the title track “I Got Heaven” which opens in a brilliant blast to the face as the band is here not to fuck around and fully came to play. Missy Dabice has an impressive range of vocal styles and inflections. The opening track is straight up rage and anger, and it is wonderful. In the first two lines “like a dog without a leash, now I’m growling at a stranger, I am biting at their knees” summarizes perfectly the likeness of this attitude and mirrors the first time one is allowed to be “unleashed”. Mannequin Pussy spares no expense of getting right in your face all while telling you what’s for, all while delivering a killer in depth performance. As Mannequin Pussy takes you through this ten track journey it weaves you through multiple indie, and punk styles. One song such as “OK? OK! OK? OK!” is a full on balls to the wall punk song with very groovy sections throughout that keeps it difficult to keep yourself from moving. proceeding to then breakdown into static before launching you into a completely different sensation. The following song “softly” I can only describe as the feeling “remorsefully and sorrowfully annoyed” similar to the feeling of self frustration for losing someone of your past that could’ve easily been avoided. The dichotomy of the simple solo guitars and the descending bell lines to where the full band kicks in is a huge jump inciting a parallel of passion and remorse. The overall demeanor of I Got Heaven really plays to the dynamic of the human spirit in some perpetual mixture of full anger or passion, and quietly reserved. The record explores the frustration around the desires of being both wanted, and completely free.

I Got Heaven was recorded at the legendary Steakhouse Studios in LA and with producer John Congleton that has worked with the band for some time now. The kit was tuned so well and sounds so tight and brief, as characteristic with many classic indie records, all while never taking up more space than it needs to. It seems like they treat the snare almost as a “width” device. Where when they want it reserved the snare takes the smallest amount of space with almost no ambience to it such as in “I don’t know you”. Then switching to a wide open sound that adds depth and width, typically in the driving sections such as the choruses in “Sometimes”. In conjunction with the bass they create a perfect drive when they need to, or a perfect interlaced rhythm when they lay back. Colins Regisford, the bass player, appears in several of the tunes on vocals where he has a low guttural, aggressive “in your face” voice. “OK? OK! OK? OK!” and “Aching” are the best examples where his voice steps into the spotlight, and I must say after hearing Colin yell in my face for the collective 3.37 minutes (across both songs) I undoubtedly needed more. The timbre and quality of his voice over the driving backing track took me right back to the days of going to small punk shows in basements, doughnut shops, and parks at midnight and seeing the musicians perform their absolute heart out, all while being greatly complimentary to Missy’s voice throughout the record.

Mannequin Pussy’s record I Got Heaven is a wonderful ride of unique devices forcing the listener to weave through a smeared blending of anger, sadness, remorse, and longing. Some of the magic in this record is that the entire record feels nostalgic, even having been newly introduced to the band, let alone the record. There is a certain mystical “familiar but different” feel to it, as if you are listening to something you always have in the past, even if never hearing the music before. Mannequin Pussy also never shies away at playing with musical dynamics, which is always wonderfully appreciated. They will hit you in the face and go full throttle, then immediately throw you into an ambient trance like state, forcing you into doing a little groovy dance. What is more so an impressive feature is how they do this to you so seamlessly. Where in description, I would expect the idea of these drastic changes between songs to be jittery or never seamlessly fit, however I never once had that sensation within I Got Heaven. The record seems perfectly planned to be so dramatic in mood and intensity changes between songs, intentionally leading you in and out of the fray. Though I always appreciate an artist that breaks normal convention, if intentional, Mannequin Pussy does just that while displaying the mastery of their craft keeping everything concise with itself and with the entirety of the record.

I Got Heaven imprinted itself on me as a full journey through a single person’s array of intense emotions over a short period of time. I hear the record as one song broken into ten parts almost as a book with ten chapters, making it difficult to listen to segmented pieces instead of listening to them consecutively. This radical emotional trip of rage, lust, sadness, and nostalgia makes I Got Heaven more than deserving of one of the best releases to come across the Drone Shop in 2024 and will be permanently imprinted onto the shops’ regular playlists, as well as many others. I would officially state that if I Got Heaven was your favourite flavour of chip, it surely would be one of the zestiest in the bag.

I Got Heaven was written by Mannequin Pussy and John Congleton and performed by Mannequin Pussy

Recorded at Steakhouse studios Los Angeles CA

Mixed by John Congleton

Mastered at Sterling sound