Let's dive into the captivating world of Mary In The Junkyard, a London-based trio that's not just a band, but a mystical, communal experience. Their story begins with a spell, or so they believe, as if their musical journey was destined from the start. Lead vocalist Clari Freeman-Taylor, viola-bass player Saya Barbaglia, and drummer David Addison share a unique connection, one that extends beyond their musical talents.
What makes this trio so fascinating is their ability to blend fantasy and everyday life in their music. Their debut album, "Role Model Hermit," is a testament to this, with songs that feel both ancient and contemporary, rooted in personal experiences yet untethered by time.
"New Muscles," for instance, is a track that showcases Freeman-Taylor's powerful vocals and lyrics that teeter between the divine and the primal. It's a song about embracing one's instincts and leaving a lasting impression, a theme that resonates throughout their work.
The band's dynamic is an intriguing mix of personalities. They live in close proximity, with Addison and Barbaglia as roommates and Freeman-Taylor just around the corner. Their creative process is organic, with ideas flowing freely and a studio nearby to capture them.
"Since September, we've been a 24/7 band," Barbaglia mentions, highlighting their dedication and the blurred lines between work and play.
Their journey began with regular gigs in 2022, playing multiple times a week and opening for various acts. Despite their initial lack of a full set list, they approached each performance with enthusiasm and a unique touch, filling the gaps with songs like "Spaghetti Man" and "The Snail Song."
Beyond music, each member has their own passions and rituals. Barbaglia trains in MMA daily, Freeman-Taylor does acrobatics, and Addison writes a blog, mapping the city through music and venues. These pursuits are not distractions but extensions of their creative spirit.
"We're a performing group, but also an arts collective," Addison explains, inspired by bands like Sonic Youth and Fugazi, who create supportive artistic networks.
The band's philosophy extends to their shows, where Freeman-Taylor measures success by the connection she makes with the audience. Her humor, a blend of darkness and silliness, is a unique part of their live experience.
"It's not that funny, my humor is quite stupid," she says with a self-deprecating smile, but her bandmates quickly disagree, pointing out her comedic roots in her dad's act with his twin brother, Victor and Albert.
The band's origins in classical music training are evident in their sensitivity and precision, especially in Barbaglia's description of playing string instruments together. Yet, they've also embraced a more intuitive, instinctive approach to writing, a tension between control and freedom.
"It just comes straight out like a poo," Freeman-Taylor jokes, describing their songwriting process as an intuitive, natural reaction.
This intuition extends to Freeman-Taylor's childhood ambition of becoming a clown, an influence that's evident in her stage presence and the band's overall performance.
"Songs tend to fall into two realms," she explains, "one is quite subjective, a story about something else, and the other is a literal representation of a feeling."
"Mouse," a standout track on the album, is a perfect example of this, with its delicate lyrics about past lives and a devastating past.
The album's production, too, reflects this idea of past lives and big spaces, with "dub style reverby production" creating ghostly sounds.
If you were to visualize the album, they imagine it as a paper-mâché ship, handmade and fragile, a symbol of their music's ability to hold together distant pasts and infinite future adventures.
"Role Model Hermit" is a must-listen, a debut album that showcases Mary In The Junkyard's unique blend of fantasy and reality, intuition and precision. It's a journey through their mystical world, one that leaves a lasting impression.
