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MARS HOLLOW – Is Anybody Out There?
(2020 Self-Release)
Mars Hall music and merch can be purchased here
Some bands just know how to do things right, whether it’s from years of experience or just being willing to do the required legwork. Mars Hall seems to have both these attributes. In what is surely one of the smartest packages to arrive in some time, my stash box included the new album; the previous album; a nice-looking DVD of recent, fully-produced videos and a two-sided, full-color foldout; a Mars Hall koozie; a Mars Hall face covering; and coolest of all – a neat Stratocaster jump drive with videos; MP3 versions of both recordings; PR pics and logos; the band’s EPK; and web links. This is doin’ it right, people! No coffee mug, though. Just kidding.
All this begs the question then: is the musical stuff any good?
To be sure, this is retro rock; your favorite 70s-to-90s power rock band may flash into your mind. If Cheap Trick had Eddie Van Halen they’d have probably sounded something like this. Is Anybody Out There? benefits from engineering and mixing by Matthew LaPlant. The sound is full and punchy, clear and vibrant. The mix is gigantic with deep, resonant bass reminiscent of Queensryche’s Empire album (and probably dozens more in the hard rock arena). The louder you play it, the better it sounds. If the marketing screams professionalism, the performances rise to the occasion.
Mars Hall uses keys only sporadically, although they don’t normally employ them onstage. That puts the focus on guitarist Jef Hinds, which is just fine. Hinds is a fine guitarist, capable of shredding in a classic rock style but not overwhelming the songs with endless fills. Hinds’ technique is on par with John Masino as local talent goes in this genre. Bassist Jon Scott (Pierno) resembles the Cars’ Benjamin Orr with strong stage presence and solid playing. He and Tim Karbowski make a powerful rhythm section. Perry Stephen Polito (also in Falcon) adds the necessary rock lungs and dependable rhythm guitar. All four sing and that gives them a broad harmonic range. The band put on an impressive show, looking the part without aping it and playing with confidence and the energy of those much younger than they.
One of the more intriguing tracks, and one that has certainly garnered a lot of attention for the band, is their version of “Eleanor Rigby.” Transformed into a hard rock power ballad, the song loses none of its impact. Mars Hall have produced several excellent videos and “Eleanor Rigby” uses pandemic imagery to bring new meaning to the lyrics. It’s filmed in a graveyard which is apropos without coming off as cheesy. Hinds’ delivers a ripping guitar solo which adds a further dimension.
The album’s title track addresses life beyond Earth with space travel footage as well as clips of Earthly mystical places. The liner notes bring up Stonehenge and the song’s lyrics conclude that no one really knows what the hell is going on out there, whether it’s alien life or a creator. It’s another highly professional video production with the core band shots filmed at the Crystal Grand.
“Mercenary” starts out with helicopter effects and marine-like chants and seems to address the effect of publicity and hype and how it can drive a person to the extremes. Hinds delivers his best solo here. Along similar lines “Overkill (the Ballad of Sid and Nancy)” takes this real-life situation and uses it as self-examination. Yes, rock and roll is a crazy lifestyle once fame and attention enter the mix and chasing after it can be equally maddening. Ample shredding in the guitar department, especially the song’s final minute or so. “One Chance” is more self-examination tempered with plenty of self-reflection.
The balance of the tracks is less weighty, more relationship driven. “Get in the Car” opens the album with a mighty four-on-the-floor drum pattern and a kick drum sound so intense your head will fell like the pedal’s hitting it. The band establish the full palette of their sound in the first thirty seconds. “Falling Apart” employs said sparingly-used-keyboards and offers a bit of relief from the shredding with a far more concise solo from Hinds and harmonized vocals. This one sounds like a single.
Mars Hall doesn’t play any games. They take the most out of a tried-and-true classic rock formula and proceed to kick your ass with it. They’re a great live band and nothing cures a world-weary soul like some direct, high-energy rock and roll. No matter how much “rock is dead” is proclaimed, it always comes roaring back. The members of Mars Hall may not be spring chickens anymore but they seem to have finally found that together, they click on all cylinders.
