Hello Mary – ‘Emita Ox’ album review: the potent sound of a band planting the flag

Posted On September 12, 2024September 12, 2024

THE SKINNY: Often, when there’s a lot of buzz about a band, it’s understandable to be highly cynical. After all, what do people actually know? There have been innumerable instances when groups have been hyped up with wide eyes and big words, only for the reality to be a markedly disappointing contrast. Eschewing the contemporary trend, this is not the case for Hello Mary, the New York City trio who have been making waves over the past couple of years. Their second effort, Emita Ox, is one of the best albums released this year.

Hello Mary’s self-titled 2023 album was also brilliant, but served as more of a full introduction following 2020’s Ginger EP. It was a canvas with a base layer already painted on for the young band to institute more details of their sound and familiarise themselves with the world around them. On their hotly anticipated new effort, we find the trio – comprised of guitarist/vocalist Helena Straight, drummer/vocalist Stella Wave, and bassist Mikaela Oppenheimer – evolved. They have a heavier, more refined sound, courtesy of the passage of time, new inspirations, and the help of producer du jour Alex Farrar.

It has everything you might want from a rock band, and given that the members are in the onset of their 20s, the accomplishment in store is afforded a genuinely remarkable dimension. For this to be only their second proper album, hot on the heels of their first, bodes incredibly well for the trio, who supply affecting vocal harmonies, frank lyrics, well-oiled guitar lines, dynamic rhythms and a sprinkling of electronic textures to full effect as they continue to burnish their undulating melting pot of ideas.

While there are certain throughlines that comprise Hello Mary’s sound, this is no bad thing, and is, in fact, germane, as every outfit of note has their specific components. In another triumph, the trio compel throughout the 11 tracks on Emita Ox, and stoke an immense degree of excitement and intrigue for where they might head next.

For anyone who thought guitar bands were dead, look no further than Hello Mary. They’ve confirmed that they’re here to stay. Do not be surprised to see their reach spread exponentially over the coming years. 

For fans of Jonny Greenwood, Hugh Grant’s films at the turn of the millennium, and the scarf Kele wears in the ‘So Here We Are’ video.

A concluding comment from your local muso: “Radiohead have spawned many pretenders over the years; what makes you think I’d be interested in another one?”

Emita Ox track by track

Release: September 13th | Label: Frenchkiss Records | Producer: Hello Mary/Alex Farrar

‘Float’: A deeply atmospheric effort boasting immense vocal harmonies, chiming guitars, and an early Radiohead-esque burst of noise in the climax, it emphatically asserts the force of this new chapter of Hello Mary. [4/5]

‘0%’: Undoubtedly one of the most immediate tracks on the record. Carried by the power of the gritty but funk-laden bassline, the din the trio constructs is huge, with Straight’s distorted vocals as furious as ever. The way the band toys with juxtaposition is also very effective. [4/5]

‘Three’: This is an absolutely exquisite number. Floating high on the celestial echo of Straight’s guitar and the shuffling beat, we’re served up another exhibit of how broad the band’s scope is at this early stage in the record. For me, this might well be the best song on the album because it gradually gains traction and takes off, with the final burst and inclusion of the piano simply stunning. Props for that drum fill at the end. [5/5]

‘Down My Life’: An expressive, almost jazzy beat opens this one as another atmospheric picking pattern materialises, once again whisking you deep into the mind’s eye. As this is Hello Mary, there are more treats in store, with bassist Mikaela Oppenheimer supplying yet another heavy groove on the four-string. [4/5]

‘Knowing You’: It was already clear that Hello Mary have a knack for producing infectious songs, with the harmonies of this song also rich. One of the more psychedelic moments found on Emita Ox, this twisting journey continues to keep you bedded in the sonic immersion tank. [4/5]

‘Heavy Sleeper’: It might be an ephemeral number, clocking in at under two minutes, but this stop is deeply cinematic, drawing upon languid doo-wop in another of the album’s welcome surprises. I could listen to this on repeat for an age.[4/5]

‘Footstep Misstep’: A return to the rumble so intrinsic to Hello Mary. Animated vocal melodies, oscillating dynamics, pure energy and a clear creative vision fuel this one, which ranks among the most assertive on Emita Ox. The hypnotic chord progression and harmonies are excellent, and the way the elements crush together just after the halfway mark is absolutely brilliant. [4.5/5]

‘Courtesy’: Kicking off with a steady programmed beat and the crisp clank of the guitar, you immediately wonder where this one might go. The perfect blend of solemnity and defiance amid shifting personal circumstances, the lyrics and vocals are especially frank and glide perfectly on top of the cathartic sonics. Heavy flecks of Elliott Smith and Heatmiser. [4.5/5]

‘Hiyeahi’: A fleeting but compelling moment. This slice of engulfing electronic textures is expressive and points to the environments the band might explore in future records now that they’ve started experimenting with digital instruments more concertedly. [4/5]

‘Bubble’: An incredibly cinematic listening experience. Hoisted on the back of the acoustic pattern and ghostly dovetailing vocals, this is a track that you cannot resist washing over you, as the different, shifting elements capture the imagination. The juncture in which the trio explodes into life with the repeated bending chords is so satisfying. [5/5]

‘Everything We Do’: The only way I can fully describe the essence of this track to British listeners is that if was released in 2002 it would have been on the soundtrack for About a Boy. Straight is once again exceptional here, with the instrumentation perfect for the general sentiment. It’s thoroughly autumnal and brings to mind the intangible essence of days long since passed. [5/5]

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