Rock music is a timeless art; the occasional outlandish statements about its demise are largely baseless. Alex Turner was right when he slurred those infamous words, “That rock’n’roll, it just won’t go away”, somewhat ironic considering the band’s evolution since. But even in the Tiktok powderpuff pop world we live in, rock music will always have its place. However, there’s a feeling that rock has lost some of its potency, detached from its original rebellious roots. The UK’s prime guitar bands tend to get slapped with the post-punk label, a genre that has lasted over forty years without anyone really understanding what it means anymore. Hello Mary are a straight-up slice of rock music, the girls from New York’s debut breathing new life into the genre with a fuzz-filled debut.
Comprising Helena Straight (vocalist and guitarist), Stella Wave (drummer and vocalist), and Mikaela Oppenheimer (Bass), the trio pays homage to the 90s alt-rock scene. They burst onto the scene with their 2020 EP, Ginger, a mix of raucous rock, sludgy grunge, and quieter moments, like the track ‘Mary’. Their self-titled debut sees them embellishing their gritty, underground aesthetic, creating something fresh and urgent. Straight describes the album as “much more collaborative” than their previous work, and the group benefit from the expertise of Bryce Goggin, whose rock CV includes working with Pavement, Sebadho, and the Ramones. Not Bad.
There’s a discernible development of sound since Ginger, ‘Looking Right Into The Sun’ supplements its dynamic rhythm with a psychedelic tinge, while Straight’s falsetto sounds more confident than ever. The closer ‘Burn It Out’ has an almost country twang, a sign that the group are ready to explore new territory. ‘Evicted’ dips nicely between soft and heavy, beginning in raucous fashion with Wave’s all-out assault on the drums and Straight’s thunderous riffs before dropping into some syrupy shoegaze on the verses. Goggin’s production makes a key difference; sometimes, Straight’s voice got lost amongst the noise on Ginger, but Goggin ensures her melodic tones shine through.
The fuzz and distortion are still there, with Straight’s guitar buzzing around nicely on the opener, ‘Stinge’ and the unhinged ‘Rabbit’. More importantly, the band’s ability to create sharp hooks remain, whether through the short blasting riffs and eerie vocal harmonies of ‘Special Treat’ or the melodic warmth of the opening of ‘Sink In’. There are some lovely solo moments as well, such as the slinky breakdown on ‘Comfort’ or Straight’s restrained freak out on the aforementioned ‘Sink In’. The trio interchange excellently throughout, occasionally reminiscent of the ’90s alt-rockers the Breeders, with Oppenheimer particularly impressive on the bass.
Lyrically, the record could be sharper, but there’s an improvement from Ginger, suggesting they’re moving in the right direction. ‘Rabbit’ is simultaneously semi-comical and shocking; the visceral lines “Shoot the rabbit/To feed the kid” certainly stay with you, and seeing the group be a little playful is good. ‘Spiral’ features some nice wordplay: “There’s no evidence except/The pictures in my head”, an example of where Straight’s delivery and words combine to capture the song’s atmosphere. Straight and Waves’ harmonies provide another layer of depth, sharpening the choruses, another sign of the group’s evolution.
Hello Mary is an assured debut, with the group demonstrating their influences but also showing a desire to broaden their soundscape. It’s tight musically but without feeling mechanical, the sharp hooks demonstrating the group’s pop sensibilities while the fuzzy distortion keeps things nice and gritty. Considering the trio’s age, Hello Mary could be the beginning of a long and fruitful career.