Oliveras' vocal presence is both a weapon and a major reason for this -- he's got more confidence and presence than your average rocker, yet he never falls into cringeworthy or over-the-top rock star gestures. There's no T.T.H. (tries-too-hard) to his or the band's approach. This forthright pleasure and assurance might have grown from the group's recording experiences to date, which range from the experimentation and live takes of Ashley to the precision and attention to detail of Papercuts' Jason Quever, who produced one of their singles.
Along with friendship and romance, family plays a role in the Mantles' music not corny Christian family values, but a bond with family members that's taken a variety of funny forms during the group's existence. "At [a show at] Café Du Nord, my mom said she wanted a drink, and when I told her to go to the bar, she said, It's not my milieu," says Roberts to much laughter. He lists his favorite show to date as one the group did for Oliveras' family: "There was an audience of six people on patio chairs sitting 20 yards away from us," he says.
"The Mantles: Being Earnest," Oliveras jokes.
The Mantles has the arresting look required of a vinyl-only release, thanks to a stark and handsome design by local musician Nathan Berlinguette, art by Colter Jacobsen, and another family touch: the photo on the album's cover. As evocative in a nostalgic way as the cover of Night Control's Death Control (Kill Shaman) is in a 2009 manner, it's a picture of a man holding a picture a photo of Jimi Hendrix. The man, standing in front of a gorgeous mountain-lined horizon, is Weatherby's father. "My dad is beside himself," she says with a smile. "He went to one of our shows recently and was walking around saying, Album Cover Guy's here. Want to meet the album cover?"
Album release party
398 12th St, SF
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