I have always had a very keen and slightly morbid interest in the nuclear apocalypse. Growing up in the 1980s Cold War era, when Reagan, Brezhnev, and Thatcher all seemed ready to set the world on fire, and being traumatized by the amazing BBC drama Threads in 1984, it is not surprising. So, when I saw a band with a bassist called Oppenheimer, and that band was releasing a new album, I was drawn to investigate further.
I’d not crossed paths with Hello Mary before this. I had no idea what to expect from this Brooklyn trio. That can be a massive plus, as you have no expectations. You treat the record on its own merits. I wanted the pure experience of sitting down, headphones on, letting the album’s tracks launch at me like I was whizzing through a ghost train.
I recommend doing this occasionally, as it can open doors to new artists you may have bypassed previously. So, what would I discover? Would Emita Ox blow me away like a previously mentioned nuclear warhead, or would it leave me colder than a cold thing on a cold day? A nuclear winter, perhaps?
With a riff that reminds me of ‘House of the Rising Sun’ by The Animals, the first track throws me into unease and disorientation. ‘Float’ develops into an engaging track and makes me feel the way I did when I first heard ‘Happy House’ by Siouxsie and the Banshees; ethereal vocals float over the guitar riff from Helena Straight, and a thumping rhythm is beautifully delivered by Stella Wave. When you think you have a handle on the track, it becomes an all-out attack. Your ears are bashed with distorted guitars and vocals in a thrash metal sort of way. The track evokes emotions in you – they build as the track progresses. The violent conclusion leaves you bruised. Superb stuff!
‘0%’ plays with the energy of music. It moves from gentle to melodic to angry post-punk fierce noise and back again. There’s a subtle feel of The Lovely Eggs about this track, which is no bad thing. Mikaela Oppenheimer’s bass line sets your fillings on edge throughout as Wave adds additional shrieks and screams to pierce your eardrums. This song has a fevered dream vibe about it, and it is addictive.
We are catapulted into a world that has a sense of fantasy with ‘Three’. A jangly shoegaze track smothered in breathy vocals wouldn’t be out of place in the late 80s indie scene – imagine a rockier version of The Sundays. Tempo changes help build an uneven and blurry sonic landscape as if you cannot quite work out where you are. You pinball around, looking for something real to latch onto, to feel safe.
‘Down My Life’ continues along the jangly, bright ambience with segments of scuzzy guitar, pugilistic drums and challenging bass lines making appearances throughout. Imagine standing in the Hacienda in Manchester with hundreds of fellow shoegazers enjoying the trippy evening. Builders work there, and your mellow is harshed by someone drilling holes or knocking a wall through. Yes, I realise this is an odd description, but it has become clear that Hello Mary are no ordinary band. They want to challenge you as well as entertain you. They paint interesting pictures in your mind.
We come perilously close to a ballad next up as we are given a more relaxed, melodic track to explore. ‘Straight and Wave’ combine beautifully here, delivering engaging and emotive harmonies, creating a siren song against a backdrop of thumping drums and confusing bass. I can picture them on a rock, calling the sailors to their doom, as they sing, “Take it from me/Hope you learn from this/Take it from me/Knowing you, you won’t”, with the music performing as the sound of the sea crashing and roaring.
At just 100 seconds, ‘Heavy Sleeper’ is not the shortest track on offer here. Sometimes, brevity is a strength, and it certainly is here. We are in the psychedelic, mellow part of Hello Mary as they deliver their delicate harmonies against a stripped-back musical backdrop. This is more of a soundscape than a song, reminding me of ‘Star Me Kitten’ by R.E.M. It would make a great addition to the soundtrack of a Twin Peaks-style show.
If you are an aficionado of 60s hippy-feel vocals mixed with post-punk aggro, you will love ‘Footstep Misstep.’ When making my notes, I wrote, “A sonic hangover.” The song swirls around your brain, unsettling your synapses. It generates slight nausea and mild neuralgia, but it entrances you and makes you want more. No reaching for the medicine cabinet here, as you want to feel this way. Maybe this album should carry some health warning?
‘Courtesy’ continues the blend of floaty vocals with fuzzy guitars whilst Oppenheimer once more produces a curious bassline whilst punchy drums appear throughout to help dislodge any stubborn earwax you may have. It leads us to the album’s shortest track at just 84 seconds. A psychedelic, industrial and aggressive-sounding offering, ‘Hiyeahi’ is firmly in the experimental music camp. Electro noises are joined with overpowering, apocalyptic, squelchy pounding thumps that are likely to blow your speakers and send things flying off shelves and mantlepieces. The track concludes with a digitised voice stating, “The sun was in the shape of a heart”. It seems Hello Mary are only too willing to follow their desires and make the music they believe in.
We return to more traditional ground with ‘Bubble’, a song with a beautiful, grungy, and soaring chorus. The energy of PJ Harvey whooshes around this track as the Foo Fighters throw the occasional handful of sonic support into the room. Once more, I am drawn to the souped-up drumming of Wave, but I also must give credit to the production on the track. Take a bow, Alex Farrar. This reviewer appreciates your work across this album.
The album concludes with a lovely melodic number in ‘Everything We Do’. After some fierce assaults faced throughout Emita Ox, it is nice to be let loose from its grip with a gentle stroke of the cheek instead of a thundering punch to the abdomen. A folksy, serene number with plenty of feeling, it has a sparkling sound that lifts the spirits. Nick Drake’s spirit is felt throughout the track.
So, there we have it—11 tracks from the New York ensemble Hello Mary. Exploring an album that I probably would not have listened to has been a joy. Music is so accessible now, as every artist can get its music online, so there is so much choice. When swamped with choice, sticking to what you know is easy. Take a leap of faith, folks!
I deliberately mentioned several artists or songs this album’s tracks reminded me of. I often do this to give the reader an idea of an artist’s style or a song’s feel. While this is partly true here, it is more because Hello Mary reminds me of many different bands and tracks. However, they are also nothing like the artists or recordings I mentioned. As a band, they have their sound and follow their path. They are not copying others, but they are uncanny at making music that takes you through your life’s musical experiences and pulling out songs from your mental jukebox. It may well be some form of witchcraft.
Much is made of the “difficult second album,” but Hello Mary has swerved that issue with aplomb here. I have since listened to their self-titled first album, released last year, and there is certainly an evolution to their sound and approach—a healthy trait that aids a performer’s longevity. Add to this their age (Wave is the eldest, in her early 20s), and it is inspiring to hear how good they sound already, let alone what they could go on to achieve.
Emita Ox is a tremendous album that will no doubt elevate the status of Hello Mary on the world’s musical stage and deliver great promise for their future.
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