Skip to main content

Review: Ghost In Town by Mel Maryns

It's fair to say that youth is something that's rarely held back pop musicians in the past, but it's often accompanied by an element of antipathy from those who fear overly controlled pop music and doubt that younger artists can genuinely be pushing pop music forward without significant assistance and manufacturing. The likes of Kate Bush, Taylor Swift and most recently Billie Eilish have been some of the biggest exceptions, and with the latter's global dominance on the back of genuinely forward thinking music there has been a refreshing new narrative.

At just 17 years old, Irish singer-songwriter Mel Maryns is looking to follow in their footsteps, but rather than futuristic pop she takes on a old-school rock sensibility and combines it with a modern energy. Having begun her career busking on the streets of Dublin and Cork, her single Ghost In Town describes the isolation, frustration and contemplation of performing for a transient audience. It's an intriguing tune that has her vocals very much as it's focus, and what it might lack a little in presence it makes up for in catchiness and intricacy.

Kicking off with a wailing metal guitar line, the track segues into a powerful beat backed by a solid bassline and some full-blooded modern rock guitar riffs. There's a healthy dose of synths too that vary from 80s electro flashes in the chorus to atmospheric melodies in the breaks. It is a little flat sounding in places, but there's a lot that's very interesting and the different sounds and instrumentation offer a fair amount of hidden depth.

The production is certainly not the primary focus here though, that is reserved for the song-writing and Mel's brooding vocals. There's a uniquely effervescent quality to her delivery along with a subtle swing and grit that really comes alive in the chorus. It's definitely catchy, although a few vocal harmonies or runs would perhaps had added a little more colour towards the end. The song is well written, and while the verses and chorus are both very strong in tone, the softer atmospheric breaks give an added dynamism to the track.

Considering how relatively new to her career Mel Maryns is, Ghost In Town is a pretty accomplished track. Of course there are areas it could be improved, but that's to be expected, and in the places where it really matters, the vocals and song-writing, Mel Maryns excels. There's a lot of potential here, and if Ghost In Town is anything to go by, then Mel Maryns has a strong career ahead of her.

Listen to Ghost In Town on Spotify and Soundcloud.

Follow Mel Maryns on Instagram and read more about her on her official website.



Popular posts from this blog

Review: Penny Lane by Jeff Lake and Cellophane Flowers

Like most kids growing up with a keen interest in music, I went through my phase of adoring The Beatles, and although my phase didn't go on long enough for me to fully explore the depths of their music, it did implant me with a lifelong appreciation for them. For me personally though it wasn't their musical experimentation and forward-thinking production styles that gripped me as it did for so many, but simply the quality and veracity of their song-writing, and as such I always preferred The Beatles more overtly pop output. Most of this can be found in their early singles and albums, but there are also a good number of tracks from their later output that hit the mark. One of my favourite Beatles tracks, and one that is not often at the forefront of cover albums, is Penny Lane, a highly celebrated non-album single from the Sergeant Pepper era that is a perfect summation of the Lennon-McCartney song-writing dynamic. Hearing a tribute album that puts the track front and centre was

Review: Sorry by Pepe Dadon feat. DreamBoy DZY

When I hear a track like Sorry, by New York City newcomer Pepe Dadon, my instant reaction is to be filled with both relief and refreshment. Although it can be argued that production and flows have become too similar in the last few years, I personally find that the main cause of homogeny in modern hip-hop comes from the lyrical content. The same tiresome lines about the vast quantities of sex one's having, drugs one's taking, or money one's earning made sense during the glitzy bling era of rap. But now, when the production styles tend to be drawn from very deep atmospheric soundscapes, this over-the-top braggadocio often comes across as lazy lyricism. Sorry, however, is a wonderfully emotive tale of overcoming hardship, offering apologies to those who might have suffered along the way while finding solace in success. There is never an ounce of arrogance coming out of this track, in fact there is a lot of humility on show, and even when it does delve into those more typical

Review: Lightspeed by Christopher Dallman

Almost every artist during the course of their career will want to develop their sound, often doing so gradually as they discover new ideas and find out what styles they do well. There are those artists though who, rather than making the gradual change, decide to take a big leap and totally change their sound in one step. It can often be a decision which polarises fans, and for some artists this is a headache that can lead to a regression, or as as it's often put 'going back to their roots'. Bob Dylan might have been the first to cause an existential crisis amongst his fans when when he plugged in his fender strat. In the context of the mid-60s it was a much grander change that it appears in hindsight, and there are more modern examples of bigger stylistic changes that have created uproar from fans. Up until recently, Christopher Dallman had been a minimalist indie-folk singer songwriter, producing the kind of simple but intricate guitar-and-vocals music which can be quite