Man Man has the plan plan.
Fee-fi-fo-fum, I smell the blood of an English Man Man. Courtesy of the artist

Last fall, Philly experimental rockers Man Man—who’d been mostly quiet after supporting 2013 album On Oni Pond—popped up on Facebook with a few live dates, a track on the Sub Pop Singles Club, and a six-date mini-tour, with Seattle as their second stop. Righteous. I once heard someone describe Man Man (which is creatively driven by multi-instrumental frontman Ryan Kattner, aka Honus Honus, and drums/percs/loops/sampler juggler Christopher Powell, aka Pow Pow) as pirate rock. I can only assume this is due to Kattner’s bellowing rasp, hilariously absurd yet often poignant and rather clever lyrics, and the lively, offbeat, about-to-fall-apart quality of their mix of doo-wop, avant-garde pop, and accessibly discordant weirdo-rock that bobs and bumps and weaves and roils as if on a turbulent sea. While at the same time, there’s something catchy and convulsively danceable about it, and sometimes it's slinky and creepy and wickedly dark. Also, the music is lushly layered, and at any given point, the instrumentation includes (but is not limited to) clavinet, analog synths, xylophone, marimba, melodica, sousaphone, trumpet, bass clarinet, euphonium, and guitar.

Man Man make some of my favorite sounds, ever. Check out some media below and find out why. Then catch them at the Crocodile tonight.