Review: Hello Mary ‘Emita Ox’
Having only recently discovered Hello Mary, considering their eclectic alternative rock style vibe, I’ve surprised myself really that I hadn’t stumbled upon them sooner. The amalgamation of that trademark American ‘90s guitar sound, part alternative, part riot grrrl, with a dash of indie inflexion has always been high on my go to checklist for a fuzzy reminiscence. Somewhat like a warm embrace, which always leaves me satisfied, the band’s sound is incredibly familiar, yet at the same time refreshing and new.
With their new album, Emita Ox, the three piece have really stepped forward, and I feel they’re ready to be thrust into the limelight, which will see them explode onto the major world stage sometime real soon.
The album itself is eleven tracks of alt-rock goodness, delivered in a way which would suggest a band far further along the career path than they are considering their ages. At first glance you would be mistaken for thinking that they were well into their thirties, given their sound, but this isn’t the case at all. It goes to show that far from being a sound confined to its decade, this resurgence of those eclectic ‘90s vibes are very much still alive and kicking.
Nestling firmly into the territory of Belly, Veruca Salt and even the softer side of Sleater-Kinney, Hello Mary are here to stamp the passport of a bygone era with fresh blood and an enthusiasm that warms the very soul. As someone who considers the late ‘80s and into the late ‘90s as my prime musical influence, Hello Mary are such a welcome vision. Heavily educated by thrash, grunge and then alternative and into nu metal, this era holds such a special place in my heart, that anyone who treads into that arena will always be welcomed.
After the initial heavy angst of opener Float, which welcomes us in with a pensive start, it’s track two, 0% where we really see the band’s true potential. A breezy start cuts short as a darker, harsher attitude interjects. It’s this play with the lights and darks that fuel the piece and the parallel is truly wonderous. Not too abrasive, just the right side of aggressive, when it’s dark, it’s primal, and when lighter, it’s charming.
Three, the cleverly titled third track, is where the band give their first magical glimpse at just how to utilise their full skillset to produce a song which is as lavish as it is awkward. The use of keys to elevate the jauntiness of the piece works so well and pulls into so much more than just a vibrant summery song.
awkwardly beautiful with vivacious flamboyant guitar, otherworldly harmonies and a uniqueness in timings that suggest that there’s plenty more to come from the trio…
With Down My Life, Hello Mary come into their own and condense down everything that’s come before, into three minutes of trippy indie post-rock that revolutionises the unit. It’s here where the band really start to explore their dynamic fully and it’s sublime.
Knowing You is, for me, the real payoff for the whole event. This track is just so goddamn eclectic, and that push of nostalgia transports me right back to my formative music years in a way that sends shivers down my spine. I’m reminded of sweaty indie nightclubs, girls in DM’s and an American explosion on the stereo. It makes my very soul happy and it’s here where I am in my element completely. Droning guitar, alt-rock sensibilities and incredible vocal intersections warm me deep down inside.
With Footstep Misstep comes comparisons, but not in a way you would instantly spot. I get real hints of Jane’s Addiction as Ritual de lo Habitual roams around in my thoughts as it plays through. Its awkwardly beautiful with vivacious flamboyant guitar, otherworldly harmonies and a uniqueness in timings that suggest that there’s plenty more to come from the trio.
Courtesy is another highlight and it’s tracks such as this that I pick up that Belly/Kristin Hersh vibe. There’s just something so charming about tracks such as this one where it’s a little disjointed, a bit abrasive and yet still manages to be bittersweet, making me want to hear so much more from the band. Again, I draw comparison to Kristin Hersh on Bubble, which is probably the most abrasive track on the opus. At its height, its disjointed eloquence is comparable to Kristin, with its jagged edges.
As with all good things, ultimately it must come to an end and Everything We Do ties the album off nicely. It’s an easier piece to close to and after everything that’s come before, it solidifies the charm of the band right up to its final breath.
If this had been out in the ‘90s I would have purchased a copy without hesitation and worn it out long ago, only to have replaced it multiple times. It’s such a joyously lovely album, which, sound wise, harks back to that era, but doesn’t feel dated. For me, it’s like finding a long-forgotten gem, a new love, and an absolutely essential purchase for sure.
Label: Frenchkiss Records
Band Links: Official | Facebook | Bandcamp | Spotify | Twitter | Instagram
Scribed by: Lee Beamish
