Mary In The Junkyard's 'Role Model Hermit' is a captivating debut that seamlessly blends grit and grandeur, marking a significant step forward in their musical journey. The London trio's unique sound, dubbed 'weepy chaos rok', showcases a masterful interplay of poetic lyrics, intricate arrangements, and a diverse musical palette. This album is a testament to their evolution, building upon their previous experiences and collaborations, including a notable tour with Wet Leg and a feature in NME's cover story.
The album opens with a self-reflexive and empowering tone, as Freeman-Taylor's voice takes center stage on 'Mantra III', declaring, 'It is yours babe, you deserve it.' This sets the stage for a journey through themes of love, self-sabotage, and personal growth. The record's production, crafted by David Addison, is both propulsive and steady, with grooves that pulse through tracks like 'Blood' and the brooding 'Seek And Destroy'.
Freeman-Taylor's versatility shines as she effortlessly transitions from hushed confessionals to a howling rasp, embodying the role of an elastic engine that drives the trio's sound. However, the album's structure, particularly in the first half, can feel somewhat constrained, almost too contained, as evidenced by the cool yet slightly slacker 'Peter The Dog' and the folk-rock pulse of 'Myrtle'.
The turning point arrives with 'Crash Landing', where Freeman-Taylor's inner Sue Tompkins emerges, channeling a trip-hopped harmonium drone that stutters and soars. Saya Barbaglia's viola plays a crucial role, tempering the trio's serene worldbuilding and summoning violent tempests. This dynamic interplay continues throughout the album, with 'Thou Shalt Sprout' showcasing Addison's patient support and fable-like harmonies.
The latter half of the album is a shared pact for dreaming, with structures that build and unwind, allowing the trio's singular charisma to shine. The theatrics reach their peak on 'Mouse', an oceanic tale inspired by Iceland's frigid grandeur, with Freeman-Taylor's longing notes colliding against glacial walls of sound. Barbaglia's string noise adds a glitching element, creating a sense of crumbling fantasy.
One of the most poignant moments is 'Candelabra', a song written 'many years' before the band's big moment. Freeman-Taylor's solo performance, adorned with a gentle classical guitar and a quick giggle, reveals a stark honesty that adds depth to the album's narrative. This song serves as a reminder that magic can be found in the details, whether grand or granular.
In conclusion, 'Role Model Hermit' is a testament to Mary In The Junkyard's artistic growth and their ability to balance grit and grandeur. The album's production, lyrical depth, and musical diversity showcase their evolving sound, leaving a lasting impression on listeners and solidifying their place in the music industry.
