The Mantles have been a significant fixture in San Francisco’s music since 2007, and their recent release, All Odds End out on the Bay’s Slumberland Records, is their third full length album in the last six years. A great example of the way that the moniker “garage” doesn’t do justice to the music coming out of San Francisco, The Mantles deliver wonderfully controlled jangly pop, perhaps even better than ever on the new record. Pitchfork says of the album:
It’s still scrappy—with cymbals that fall like trashcan lids and an overall reverence for basic root notes—but while the Mantles continue to prize sparseness and restraint, All Odds End sounds especially confident in that decision. Many indie pop songs endear with their sense of delicate, precarious construction, but here the individually shambolic parts coalesce into a substantial whole. All Odds End suggests an ensemble of players who don’t need to hold back; they choose to, together.