Mary Go 'Round
Come Down

“You, guys, play in a rock’n’roll band!”

The words that open “Come Down,” their debut album on a long-distance scale, couldn’t be more explicit: Mary Go ‘Round is a “rock’n’roll band,” a group that plays direct and “sincere” music with great impact, and has built its reputation precisely on the overwhelming strength of its “live acts.” Vocals, guitar, bass, and drums, then; this is the foundation of their sound.

However, don’t expect the genre clichés that many “rockers” from our country continue to offer us (the usual simple and insistent riffs, the same damn straight and martial four-four beats…). What you find here, in fact, are “songs” carefully crafted, the result of great compositional maturity. Pauses, dynamic movements, tempo changes, electronic inserts; there are many elements that contribute to making their music varied and unpredictable.
We’re far, then, from the stereotypes of “alla amatriciana” rock, and not only because of the singing in English but especially by virtue of a truly “international” sound and attitude, related, if anything, to the most intelligent and innovative American rock of the ’80s-’90s (Jane’s Addiction, Faith No More, Living Colour, Red Hot Chili Peppers).

However, beware, because Mary Go ‘Round also has a strong personality. The entire work, in fact, is imbued with an original and clearly recognizable melodic imprint. It seems incredible, but the tracks are all extremely “soft” and “singable” (exemplary in this sense are “Lonely Boy” and “Mary Go ‘Round”), and some have such a “catchy” line that they have the makings of the best “stadium anthems” (above all “New World” and “The City”).
The miracle of the album perhaps is precisely this: strength and sweetness, aggression and “tenderness” for once truly seem like two sides of the same coin.

Mary Go ‘Round: more than a promise, a solid reality.