Mary Jane Kelly - Like There's No Tomorrow
Record Label: Trial & Error
Release Date: March 5, 2010
In a flash Mary Jane Kelly have captured the hearts of many in the Australian hardcore scene, and their debut EP, Our Streets Turn White is held in high regard as one of the most impressive debuts floating around. After barely letting the EP settle on the shelves of their ever-growing fanbase, Mary Jane Kelly’s debut album, Like There’s No Tomorrow, steps up the game to a whole new level.
This is not hardcore as you know it. This isn’t just a quick drumbeat, thrashing guitars and indistinguishable vocals. Mary Jane Kelly step outside the borders of traditional hardcore to create something entirely different. Mixing a brew of spastic riffing, jarring time changes and the chanting growls of Justin Bartignon, somehow Mary Jane Kelly deliver some of the most melodic, catchy tracks in hardcore, metalcore, and whichever other genre you choose to pigeonhole them into.
Through the slow, building introduction, Mary Jane Kelly display exactly the style of music they filled Like There’s No Tomorrow with. It’s bass heavy with constantly riffing guitars, and avoids the typical chugging associated with the metalcore genre. The only component the first track fails to prepare you for is the tempo at which the rest of the album steps up to. “Pigs of Gluttony” quickly solves the issue with the near-punk fretwork of Matt Velezo, which along with the constant cymbal clashing keeps Mary Jane Kelly from falling into the sludgy sound of other hardcore bands.
There are none too many tracks which can apply a touch of pop-punk to an otherwise heavier sound without coming out cliché, but “The Imprecision of My Dimensions” combines typical hardcore drumming with the upbeat riffing you could expect from your favorite pop-punk band, somewhat darkened by the panicky growls of Bartignon. The clean vocals in the chorus are another interesting touch which could draw more attention from fans of punk, though the rest of the album might be a little bit of a letdown for them.
Bassist Brendan Dive has a field day all over Like There’s No Tomorrow, with his thick, catchy bass lines dominating most of the tracks, particularly “If God Were Here...” and “Wallflowers”. Much like the guitars, the bass rarely sticks to the dull plucking of one note, and it’s really the two who have separate Mary Jane Kelly from the rest of the crowd.
Bartignon is at his finest as the album begins to close, delivering with intensity and diversity. His voice demands the listener’s attention, as his voice remains dominant over the ear-catching guitar work. The lyrics become more and more memorable as the album moves through, and tracks “If God Were Here...” and “Weak, Corrupt, Worthless & Restless” are two of the best tracks Mary Jane Kelly have to offer so far in their career. Amazing riffs, inspired lyrics and a determined front-man all come together flawlessly to close the album.
Mary Jane Kelly have a lot to offer, Like There’s No Tomorrow being undeniable proof of that. They bring a fresh sound to the Australian scene; something it has been in dire need of. If this, and previous efforts is something to go by, the progression of Mary Jane Kelly can only mean something even bigger and better is to follow. But for now, Like There’s No Tomorrow will more than suffice.