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flex-col pt-8 lg:px-12"><h1 class="text-center text-4xl font-bold leading-tight md:text-6xl md:leading-tight">Dive into Mary In The Junkyard’s atmospheric rock wonderland</h1><h2 class="mt-8 text-center text-xl font-medium leading-normal md:text-3xl md:leading-snug"><p>In the London trio’s world, imagination rules and handmade creatures are part and parcel of their distinctive visuals. That exploratory nature extends to their music, where they’re pushing their boundaries and adventuring into new sounds</p> </h2><div class="my-8 flex flex-col items-center justify-center text-xs font-bold uppercase leading-loose tracking-[0.25rem] text-[#808080] md:my-12 md:text-sm lg:flex-row"><div>Words by Sophie Williams</div><div class="mx-6 hidden h-[1.125rem] w-px bg-[#808080] font-normal lg:block"></div><div>18th November 2024</div></div></section><article class="article-content prose prose-xl mx-auto flex w-full max-w-[800px] flex-col items-center bg-black lg:prose-2xl"><p><strong class="dropcap">T</strong>he members of <a href="https://www.nme.com/artists/mary-in-the-junkyard">Mary In The Junkyard</a> are stars in a subtly magical way, where the energy shifts in any space they enter. When we meet in a gleaming north London photo studio on a mid-October afternoon, the room instantly feels more atmospheric and characterful when they walk in. Stood beneath a projector, the trio spend two relaxed hours posing for the camera as a series of film noir-esque filters wash over them.</p> <figure id="attachment_3812972" aria-describedby="caption-attachment-3812972" style="width:2160px" class="wp-caption aligncenter big-read-cover-caption"><img loading="lazy" decoding="async" class="big-read-cover wp-image-3812972 size-full" src="https://www.nme.com/wp-content/uploads/2024/11/NME-COVER-MARY-IN-THE-JUNKYARD-CREDIT-FIONA-GARDEN@2160x2701.jpg" alt="Mary In The Junkyard on The Cover of NME, photo by Fiona Garden" width="2160" height="2701" srcSet="https://www.nme.com/wp-content/uploads/2024/11/NME-COVER-MARY-IN-THE-JUNKYARD-CREDIT-FIONA-GARDEN@2160x2701.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-COVER-MARY-IN-THE-JUNKYARD-CREDIT-FIONA-GARDEN@2160x2701-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-COVER-MARY-IN-THE-JUNKYARD-CREDIT-FIONA-GARDEN@2160x2701-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-COVER-MARY-IN-THE-JUNKYARD-CREDIT-FIONA-GARDEN@2160x2701-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-COVER-MARY-IN-THE-JUNKYARD-CREDIT-FIONA-GARDEN@2160x2701-1392x1741.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-COVER-MARY-IN-THE-JUNKYARD-CREDIT-FIONA-GARDEN@2160x2701-1068x1335.jpg 1068w" sizes="(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px"/><figcaption id="caption-attachment-3812972" class="wp-caption-text">Mary In The Junkyard on The Cover of NME. Credit: Fiona Garden for NME</figcaption></figure> <p>Low lighting, a guitar-heavy playlist and widescreen images of skeletal trees and starry nights set the mood for the afternoon, but it’s the band’s uniform look that comes to define their <em>NME Cover</em> shoot. Clari Freeman-Taylor (vocalist and guitarist) is keen to show off the handmade knitwear she made for the occasion, from bonnets and baggy jumpers to a jester-style hat adorned with silver cat collar bells. “The fact we’re all wearing the same thing means we’re almost too cohesive,” says bassist and viola player Saya Barbaglia as we move outside to huddle around a café table.</p> <p>It’s this sublime, cosmic shared vision that has defined Mary In The Junkyard’s rise to date. The band make music defined by winding chord progressions and abstract textures, songs that feel simultaneously hypnotic and confrontational. Freeman-Taylor’s airy register has the whimsy of Jens Lekman and the crisp, lucid delivery of <a href="https://www.nme.com/artists/the-xx">The xx</a>’s <a href="https://www.nme.com/artists/romy-madley-croft">Romy</a> – the type of voice that curls and stretches words for added emotion.</p> <p>The latter is a quality central to their sound and Freeman-Taylor’s role as lead songwriter. During our interview, she is soft-spoken but also dazzlingly charismatic, twirling the gumdrop blue-dyed tips of her hair and giggling at the strange detours her thoughts can take. Ask her about the significance of teeth, a recurring image in the band’s music videos as well as their attire (drummer David Addison’s necklace; a forearm tattoo on Freeman-Taylor) and she’ll tell you they represent “true wisdom and the smallest, most solid piece of a person,” before breaking into a dog impression mere seconds later.</p> <figure id="attachment_3813515" aria-describedby="caption-attachment-3813515" style="width:2160px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="size-full wp-image-3813515" src="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-CLARI-FREEMAN-TAYLOR-CREDIT-FIONA-GARDEN@2160x2700.jpg" alt="Clari Freeman-Taylor of Mary In The Junkyard (2024), photo by Fiona Garden" width="2160" height="2700" srcSet="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-CLARI-FREEMAN-TAYLOR-CREDIT-FIONA-GARDEN@2160x2700.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-CLARI-FREEMAN-TAYLOR-CREDIT-FIONA-GARDEN@2160x2700-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-CLARI-FREEMAN-TAYLOR-CREDIT-FIONA-GARDEN@2160x2700-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-CLARI-FREEMAN-TAYLOR-CREDIT-FIONA-GARDEN@2160x2700-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-CLARI-FREEMAN-TAYLOR-CREDIT-FIONA-GARDEN@2160x2700-1392x1740.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-CLARI-FREEMAN-TAYLOR-CREDIT-FIONA-GARDEN@2160x2700-1068x1335.jpg 1068w" sizes="(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px"/><figcaption id="caption-attachment-3813515" class="wp-caption-text">Clari Freeman-Taylor of Mary In The Junkyard. Credit: Fiona Garden for NME</figcaption></figure> <p>Smelting embers of weeping <a href="https://www.nme.com/tag/emo">emo</a>, minimalist classical (Freeman-Taylor and Barbaglia met at a youth orchestra programme), <a href="https://www.nme.com/tag/folk">folk</a> and acoustic guitar pop, the band are something rare in today’s <a href="https://www.nme.com/tag/rock">rock</a> landscape. Despite emerging from south London’s fertile Windmill scene, their songs are so intricate that it’s clear they are influenced by more than just the usual gaggle of angular <a href="https://www.nme.com/tag/post-punk">post-punk</a> groups. In May, the band released their debut EP <a href="https://www.nme.com/reviews/album/mary-in-the-junkyard-this-old-house-ep-review-radar-3756137">‘This Old House’</a>, a feast of ideas as rich and intoxicating as <a href="https://www.nme.com/artists/alt-j">alt-J</a>’s seminal ‘An Awesome Wave’ album – music full of sirens, fantasy and ghostly visions.</p> <p>Across the EP, Freeman-Taylor’s lyrics are nakedly personal, their presence always felt even when her voice is no louder than her bandmates’ arrangements. She grew up in the Hertfordshire commuter town of Hitchin, awed by the gravitational pull of nearby London. “<em>Widen my horizons, please / There’s so much I don’t know about this land,</em>” she sings of her move to the capital on ‘Tuesday’. Its accompanying video features a yeti facing an untimely death: a peek into the band’s doomy, dramatic visual world.</p> <p>“Have you read [Maurice Sendak’s picture book] <em>Where The Wild Things Are</em>?” Freeman-Taylor asks <em>NME</em>. “I find a lot of comfort from the idea of monsters. I love it because it speaks to a part of me that I don’t often feel that I see in art. There’s a sweetness that you can find in stuff that’s a bit creepy, a unique perspective from things that are deemed as ‘horrible’ or ‘ugly’.”</p> <blockquote><p>“I find a lot of comfort from the idea of monsters” – Clari Freeman-Taylor</p></blockquote> <p>Addison takes over: “We were surprised, or least interested, by how a lot of the early coverage around us portrayed the visual element of our music as ‘scary’. It’s meant to be playful, not disturbing.” The band don’t seek to escape nightmares or demons in their work, but explore a more peaceful coexistence with them.</p> <p>As a child, Freeman-Taylor relished in letting her imagination run riot by “making up my own wild characters to entertain myself.” It’s a freedom that has spilled over into adulthood: in the past year, the band have established themselves on the live circuit via playing some of the capital’s more unconventional venues, from the electronica-focused Corsica Studios to the Institute of Contemporary Arts. Next February, they’re set to play at storied nightclub Fabric – a venue not typically associated with guitar bands, let alone those as fresh-faced and quietly experimental as Mary In The Junkyard.</p> <p>At each headline show, they have displayed handmade papier-mâché “creatures” around the stage, each one representing a different mood or feeling. Freeman-Taylor begins to roll out a list, explaining what each one means. “The yeti: wildness and chaos. The moth: hope and light. The big black dog: fear… as if something is about to eat you.” That playful smile briefly cuts through the cool autumn air once more.</p> <figure id="attachment_3813518" aria-describedby="caption-attachment-3813518" style="width:2160px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="size-full wp-image-3813518" src="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700.jpg" alt="Saya Barbaglia of Mary In The Junkyard (2024), photo by Fiona Garden" width="2160" height="2700" srcSet="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-1392x1740.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-1068x1335.jpg 1068w" sizes="(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px"/><figcaption id="caption-attachment-3813518" class="wp-caption-text">Saya Barbaglia of Mary In The Junkyard. Credit: Fiona Garden for NME</figcaption></figure> <p><strong class="dropcap">T</strong>he richness and ambiguity of ‘This Old House’ – which the band worked on with XL Recordings head honcho <a href="https://www.nme.com/artists/richard-russell">Richard Russell</a> – allows listeners to make their own connections with the music. New single ‘This Is My California’, meanwhile, breaks down the walls around their typically wiry, anxious riffs, opening space for levity. The track captures a “transition period,” says Barbaglia, who recently dropped out of university to work as the band’s tour manager.</p> <p>Where they had spent years trialling out material from ‘This Old House’ at gigs before officially releasing anything, ‘This Is My California’ had only previously been aired three times in a live setting. “We were writing parts of the song while recording in the studio, which was new for us,” Barbaglia says. “It’s very different to the music we have made before as it has more of a consistent groove.”</p> <blockquote><p>“We were surprised early coverage around us portrayed our visual element as ‘scary’” – David Addison</p></blockquote> <p>Freeman-Taylor notes that a summer of festival dates afforded the band the time to gain a deeper understanding of what it takes to nurture the “very different type of friendship” they share. “I feel like we really have each other’s backs,” she says. “We have learned what it’s like to spend stressful days together, and be completely silent when we need to.”</p> <p>Their exhilarating gigs have held their peers in thrall. In recent months, they’ve befriended the likes of <a href="https://www.nme.com/artists/fat-dog">Fat Dog</a>, King Hannah and Dutch indie-rockers Personal Trainer, the latter of whom they confided in about adjusting to life on the road. The bounties of their ascendant career have occasionally been a double-edged sword, explains Addison, who is currently halfway through his final year of studies. “We always have to be ready to do things at short notice. At the moment, we don’t really make any money out of touring because the cost of doing it is more than the fee,” he says.</p> <p>Despite having to navigate these emotional and financial hardships, the band affirm that they still feel energised by all the new possibilities that lay within their grasp. The future lies open. Freeman-Taylor and Barbaglia say that they built a staunch sense of self-belief via facing daily rejection as teenage buskers. The former also previously navigated online hate and viral “hysteria” when she was part of Second Thoughts alongside Addison, an <a href="https://www.nme.com/tag/indie">indie</a> group that came to prominence in lockdown via <a href="https://www.nme.com/brands/discord">Discord</a> meme channels. “Starting Mary [In The Junkyard] felt like a breather,” <a href="https://www.nme.com/features/music-interviews/mary-in-the-junkyard-band-interview-tuesday-radar-3509307">Freeman-Taylor told <em>NME</em> in August 2023</a>.</p> <figure id="attachment_3813519" aria-describedby="caption-attachment-3813519" style="width:2160px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="size-full wp-image-3813519" src="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700.jpg" alt="David Addison of Mary In The Junkyard (2024), photo by Fiona Garden" width="2160" height="2700" srcSet="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-1392x1740.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-1068x1335.jpg 1068w" sizes="(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px"/><figcaption id="caption-attachment-3813519" class="wp-caption-text">David Addison of Mary In The Junkyard. Credit: Fiona Garden for NME</figcaption></figure> <p>We don’t broach the subject of their past musical lives this afternoon. The band have moved on and then some: just weeks ago, they secured their first studio in Lewisham, which they believe to have been a former special education building. “Weirdly, it has a feeling of nesting. We’ve been soundproofing walls and we’re even going to have three coat hangers laid out in a row, <em>Goldilocks and the Three Bears</em>-style,” says Addison. “Magical things will start to come out of a space we can call our own.”</p> <p>Barbagila, meanwhile, recalls commuting via Lime bike and coming across “a portal to heaven” (read: an overflowing skip) and taking a bunch of used carpets – before quickly throwing them out due to their stench. “It’s been silly and fun working all of this out together while on a budget,” she says, with a faint note of laughter in her voice.</p> <figure id="attachment_3813520" aria-describedby="caption-attachment-3813520" style="width:2160px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="size-full wp-image-3813520" src="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700.jpg" alt="Mary In The Junkyard (2024), photo by Fiona Garden" width="2160" height="2700" srcSet="https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-1392x1740.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-1068x1335.jpg 1068w" sizes="(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px"/><figcaption id="caption-attachment-3813520" class="wp-caption-text">Credit: Fiona Garden for NME</figcaption></figure> <p>Seemingly more at ease with where the conversation is heading, Freeman-Taylor lights a rollie. She describes how she has already brought some paintings and a knitting machine to the “Mary In The Junkyard factory”. They’ve also each kept friendship bracelets from fans, plus setlists, festival wristbands, and dozens of Polaroid pictures to decorate the studio with.</p> <p>The band’s mission to document these achievements makes sense in the context of a journey spent embracing their outsider charm. Adjusting to spending nearly every day together has done them the world of good, too; they’ve started work on their next project and have formally discussed long-term ambitions. Addison wants to tour the US and Southeast Asia, while Barbagila wants to reignite her teenage hobby of making instruments.</p> <p><iframe loading="lazy" title="mary in the junkyard - this is my california (official audio)" width="696" height="392" src="https://www.youtube.com/embed/9t60aQndiFo?feature=oembed&enablejsapi=1" frameBorder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerPolicy="strict-origin-when-cross-origin" allowFullScreen=""></iframe></p> <p>“You know what, most of all, I’d love to compose a big, orchestral soundtrack for a folk horror film. We would do that really well at that,” says Freeman-Taylor. Her face radiates pure elation, as though she knows she might be onto something.</p> <p><em><strong>Mary In The Junkyard’s ‘This Is My California’ is out now via AMF Records</strong></em><em><strong><br/> </strong></em></p> <p><em><strong>Listen to Mary In The Junkyard’s exclusive playlist to accompany The Cover below on Spotify or <a href="https://music.apple.com/us/playlist/the-cover-mary-in-the-junkyard-sounds-from-the-junkyard/pl.2cb2463f7a1944b99e206fb7220af9d0" target="_blank" rel="noopener"><strong>here on Apple Music</strong></a></strong><br/> </em><br/> <iframe title="Spotify Embed: The Cover: Mary In The Junkyard (Sounds From The Junkyard)" style="border-radius:12px" width="100%" height="352" frameBorder="0" allowFullScreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy" src="https://open.spotify.com/embed/playlist/0cHndxc2npB4yUox6gzTLg?si=f16701aeba424e12&utm_source=oembed"></iframe></p> <p>Words: Sophie Williams<br/> Photography: Fiona Garden<br/> Location: <a href="https://www.nme.com/news/music/take-a-tour-of-tileyard-the-uks-hottest-new-studio-spaces-3441300">Tileyard TYX</a><br/> Label: AMF Records</p> </article></div><div></div><div></div></main><footer class="section mb-12 py-10"><div class="container flex flex-col justify-center"><a class="mx-auto inline-flex" href="https://www.nme.com" target="_blank" rel="noopener noreferrer"><img alt="NME" loading="lazy" width="120" height="42" decoding="async" data-nimg="1" class="mx-auto mb-8 h-auto w-full max-w-[7.5rem]" style="color:transparent" src="/_next/static/media/logo.f3831535.svg"/></a><nav class="mb-8 flex flex-wrap justify-center gap-x-8 gap-y-8 font-medium *:inline-flex"><a href="https://nmenetworks.com/policies/nme-networks-privacy-policy/" target="_blank" rel="noopener noreferrer">Privacy Policy</a><a href="https://nmenetworks.com/policies/nme-networks-cookie-notice/" target="_blank" rel="noopener noreferrer">Cookie Notice</a><a href="https://nmenetworks.com/policies/nme-networks-terms-of-use/" target="_blank" rel="noopener noreferrer">Terms of Use</a><a href="https://www.nme.com/advertise" target="_blank" rel="noopener noreferrer">Advertise</a><a href="https://www.nme.com/contact" target="_blank" rel="noopener noreferrer">Contact</a></nav><p class="text-center text-xs font-medium">© 2024 NME Networks, a part of <a href="https://caldecottmusic.com/" target="_blank" class="underline">Caldecott Music Group</a>. 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In May, the band released their debut EP \",[\"$\",\"a\",\"9\",{\"href\":\"https://www.nme.com/reviews/album/mary-in-the-junkyard-this-old-house-ep-review-radar-3756137\",\"children\":\"‘This Old House’\"}],\", a feast of ideas as rich and intoxicating as \",[\"$\",\"a\",\"11\",{\"href\":\"https://www.nme.com/artists/alt-j\",\"children\":\"alt-J\"}],\"’s seminal ‘An Awesome Wave’ album – music full of sirens, fantasy and ghostly visions.\"]}],\"\\n\",[\"$\",\"p\",\"14\",{\"children\":[\"Across the EP, Freeman-Taylor’s lyrics are nakedly personal, their presence always felt even when her voice is no louder than her bandmates’ arrangements. She grew up in the Hertfordshire commuter town of Hitchin, awed by the gravitational pull of nearby London. “\",[\"$\",\"em\",\"1\",{\"children\":\"Widen my horizons, please / There’s so much I don’t know about this land,\"}],\"” she sings of her move to the capital on ‘Tuesday’. Its accompanying video features a yeti facing an untimely death: a peek into the band’s doomy, dramatic visual world.\"]}],\"\\n\",[\"$\",\"p\",\"16\",{\"children\":[\"“Have you read [Maurice Sendak’s picture book] \",[\"$\",\"em\",\"1\",{\"children\":\"Where The Wild Things Are\"}],\"?” Freeman-Taylor asks \",[\"$\",\"em\",\"3\",{\"children\":\"NME\"}],\". “I find a lot of comfort from the idea of monsters. I love it because it speaks to a part of me that I don’t often feel that I see in art. There’s a sweetness that you can find in stuff that’s a bit creepy, a unique perspective from things that are deemed as ‘horrible’ or ‘ugly’.”\"]}],\"\\n\",[\"$\",\"blockquote\",\"18\",{\"children\":[\"$\",\"p\",null,{\"children\":\"“I find a lot of comfort from the idea of monsters” – Clari Freeman-Taylor\"}]}],\"\\n\",[\"$\",\"p\",\"20\",{\"children\":\"Addison takes over: “We were surprised, or least interested, by how a lot of the early coverage around us portrayed the visual element of our music as ‘scary’. It’s meant to be playful, not disturbing.” The band don’t seek to escape nightmares or demons in their work, but explore a more peaceful coexistence with them.\"}],\"\\n\",[\"$\",\"p\",\"22\",{\"children\":\"As a child, Freeman-Taylor relished in letting her imagination run riot by “making up my own wild characters to entertain myself.” It’s a freedom that has spilled over into adulthood: in the past year, the band have established themselves on the live circuit via playing some of the capital’s more unconventional venues, from the electronica-focused Corsica Studios to the Institute of Contemporary Arts. Next February, they’re set to play at storied nightclub Fabric – a venue not typically associated with guitar bands, let alone those as fresh-faced and quietly experimental as Mary In The Junkyard.\"}],\"\\n\",[\"$\",\"p\",\"24\",{\"children\":\"At each headline show, they have displayed handmade papier-mâché “creatures” around the stage, each one representing a different mood or feeling. Freeman-Taylor begins to roll out a list, explaining what each one means. “The yeti: wildness and chaos. The moth: hope and light. The big black dog: fear… as if something is about to eat you.” That playful smile briefly cuts through the cool autumn air once more.\"}],\"\\n\",[\"$\",\"figure\",\"26\",{\"id\":\"attachment_3813518\",\"aria-describedby\":\"caption-attachment-3813518\",\"style\":{\"width\":\"2160px\"},\"className\":\"wp-caption aligncenter\",\"children\":[[\"$\",\"img\",\"0\",{\"loading\":\"lazy\",\"decoding\":\"async\",\"className\":\"size-full wp-image-3813518\",\"src\":\"https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700.jpg\",\"alt\":\"Saya Barbaglia of Mary In The Junkyard (2024), photo by Fiona Garden\",\"width\":\"2160\",\"height\":\"2700\",\"srcSet\":\"https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-1392x1740.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-SAYA-BARBAGLIA-CREDIT-FIONA-GARDEN@2160x2700-1068x1335.jpg 1068w\",\"sizes\":\"(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px\",\"children\":\"$undefined\"}],[\"$\",\"figcaption\",\"1\",{\"id\":\"caption-attachment-3813518\",\"className\":\"wp-caption-text\",\"children\":\"Saya Barbaglia of Mary In The Junkyard. Credit: Fiona Garden for NME\"}]]}],\"\\n\",[\"$\",\"p\",\"28\",{\"children\":[[\"$\",\"strong\",\"0\",{\"className\":\"dropcap\",\"children\":\"T\"}],\"he richness and ambiguity of ‘This Old House’ – which the band worked on with XL Recordings head honcho \",[\"$\",\"a\",\"2\",{\"href\":\"https://www.nme.com/artists/richard-russell\",\"children\":\"Richard Russell\"}],\" – allows listeners to make their own connections with the music. New single ‘This Is My California’, meanwhile, breaks down the walls around their typically wiry, anxious riffs, opening space for levity. The track captures a “transition period,” says Barbaglia, who recently dropped out of university to work as the band’s tour manager.\"]}],\"\\n\",[\"$\",\"p\",\"30\",{\"children\":\"Where they had spent years trialling out material from ‘This Old House’ at gigs before officially releasing anything, ‘This Is My California’ had only previously been aired three times in a live setting. “We were writing parts of the song while recording in the studio, which was new for us,” Barbaglia says. “It’s very different to the music we have made before as it has more of a consistent groove.”\"}],\"\\n\",[\"$\",\"blockquote\",\"32\",{\"children\":[\"$\",\"p\",null,{\"children\":\"“We were surprised early coverage around us portrayed our visual element as ‘scary’” – David Addison\"}]}],\"\\n\",[\"$\",\"p\",\"34\",{\"children\":\"Freeman-Taylor notes that a summer of festival dates afforded the band the time to gain a deeper understanding of what it takes to nurture the “very different type of friendship” they share. “I feel like we really have each other’s backs,” she says. “We have learned what it’s like to spend stressful days together, and be completely silent when we need to.”\"}],\"\\n\",[\"$\",\"p\",\"36\",{\"children\":[\"Their exhilarating gigs have held their peers in thrall. In recent months, they’ve befriended the likes of \",[\"$\",\"a\",\"1\",{\"href\":\"https://www.nme.com/artists/fat-dog\",\"children\":\"Fat Dog\"}],\", King Hannah and Dutch indie-rockers Personal Trainer, the latter of whom they confided in about adjusting to life on the road. The bounties of their ascendant career have occasionally been a double-edged sword, explains Addison, who is currently halfway through his final year of studies. “We always have to be ready to do things at short notice. At the moment, we don’t really make any money out of touring because the cost of doing it is more than the fee,” he says.\"]}],\"\\n\",[\"$\",\"p\",\"38\",{\"children\":[\"Despite having to navigate these emotional and financial hardships, the band affirm that they still feel energised by all the new possibilities that lay within their grasp. The future lies open. Freeman-Taylor and Barbaglia say that they built a staunch sense of self-belief via facing daily rejection as teenage buskers. The former also previously navigated online hate and viral “hysteria” when she was part of Second Thoughts alongside Addison, an \",[\"$\",\"a\",\"1\",{\"href\":\"https://www.nme.com/tag/indie\",\"children\":\"indie\"}],\" group that came to prominence in lockdown via \",[\"$\",\"a\",\"3\",{\"href\":\"https://www.nme.com/brands/discord\",\"children\":\"Discord\"}],\" meme channels. “Starting Mary [In The Junkyard] felt like a breather,” \",[\"$\",\"a\",\"5\",{\"href\":\"https://www.nme.com/features/music-interviews/mary-in-the-junkyard-band-interview-tuesday-radar-3509307\",\"children\":[\"Freeman-Taylor told \",[\"$\",\"em\",\"1\",{\"children\":\"NME\"}],\" in August 2023\"]}],\".\"]}],\"\\n\",[\"$\",\"figure\",\"40\",{\"id\":\"attachment_3813519\",\"aria-describedby\":\"caption-attachment-3813519\",\"style\":{\"width\":\"2160px\"},\"className\":\"wp-caption aligncenter\",\"children\":[[\"$\",\"img\",\"0\",{\"loading\":\"lazy\",\"decoding\":\"async\",\"className\":\"size-full wp-image-3813519\",\"src\":\"https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700.jpg\",\"alt\":\"David Addison of Mary In The Junkyard (2024), photo by Fiona Garden\",\"width\":\"2160\",\"height\":\"2700\",\"srcSet\":\"https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-1392x1740.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-DAVID-ADDISON-CREDIT-FIONA-GARDEN@2160x2700-1068x1335.jpg 1068w\",\"sizes\":\"(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px\",\"children\":\"$undefined\"}],[\"$\",\"figcaption\",\"1\",{\"id\":\"caption-attachment-3813519\",\"className\":\"wp-caption-text\",\"children\":\"David Addison of Mary In The Junkyard. Credit: Fiona Garden for NME\"}]]}],\"\\n\",[\"$\",\"p\",\"42\",{\"children\":[\"We don’t broach the subject of their past musical lives this afternoon. The band have moved on and then some: just weeks ago, they secured their first studio in Lewisham, which they believe to have been a former special education building. “Weirdly, it has a feeling of nesting. We’ve been soundproofing walls and we’re even going to have three coat hangers laid out in a row, \",[\"$\",\"em\",\"1\",{\"children\":\"Goldilocks and the Three Bears\"}],\"-style,” says Addison. “Magical things will start to come out of a space we can call our own.”\"]}],\"\\n\",[\"$\",\"p\",\"44\",{\"children\":\"Barbagila, meanwhile, recalls commuting via Lime bike and coming across “a portal to heaven” (read: an overflowing skip) and taking a bunch of used carpets – before quickly throwing them out due to their stench. “It’s been silly and fun working all of this out together while on a budget,” she says, with a faint note of laughter in her voice.\"}],\"\\n\",[\"$\",\"figure\",\"46\",{\"id\":\"attachment_3813520\",\"aria-describedby\":\"caption-attachment-3813520\",\"style\":{\"width\":\"2160px\"},\"className\":\"wp-caption aligncenter\",\"children\":[[\"$\",\"img\",\"0\",{\"loading\":\"lazy\",\"decoding\":\"async\",\"className\":\"size-full wp-image-3813520\",\"src\":\"https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700.jpg\",\"alt\":\"Mary In The Junkyard (2024), photo by Fiona Garden\",\"width\":\"2160\",\"height\":\"2700\",\"srcSet\":\"https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700.jpg 2160w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-400x500.jpg 400w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-800x1000.jpg 800w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-696x870.jpg 696w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-1392x1740.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/11/NME-MARY-IN-THE-JUNKYARD-1-CREDIT-FIONA-GARDEN@2160x2700-1068x1335.jpg 1068w\",\"sizes\":\"(max-width: 768px) calc(100vw - 32px), (max-width: 1024px) calc(100vw - 64px), 800px\",\"children\":\"$undefined\"}],[\"$\",\"figcaption\",\"1\",{\"id\":\"caption-attachment-3813520\",\"className\":\"wp-caption-text\",\"children\":\"Credit: Fiona Garden for NME\"}]]}],\"\\n\",[\"$\",\"p\",\"48\",{\"children\":\"Seemingly more at ease with where the conversation is heading, Freeman-Taylor lights a rollie. She describes how she has already brought some paintings and a knitting machine to the “Mary In The Junkyard factory”. They’ve also each kept friendship bracelets from fans, plus setlists, festival wristbands, and dozens of Polaroid pictures to decorate the studio with.\"}],\"\\n\",[\"$\",\"p\",\"50\",{\"children\":\"The band’s mission to document these achievements makes sense in the context of a journey spent embracing their outsider charm. Adjusting to spending nearly every day together has done them the world of good, too; they’ve started work on their next project and have formally discussed long-term ambitions. Addison wants to tour the US and Southeast Asia, while Barbagila wants to reignite her teenage hobby of making instruments.\"}],\"\\n\",[\"$\",\"p\",\"52\",{\"children\":[\"$\",\"iframe\",null,{\"loading\":\"lazy\",\"title\":\"mary in the junkyard - this is my california (official audio)\",\"width\":\"696\",\"height\":\"392\",\"src\":\"https://www.youtube.com/embed/9t60aQndiFo?feature=oembed\u0026enablejsapi=1\",\"frameBorder\":\"0\",\"allow\":\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\",\"referrerPolicy\":\"strict-origin-when-cross-origin\",\"allowFullScreen\":true,\"children\":\"$undefined\"}]}],\"\\n\",[\"$\",\"p\",\"54\",{\"children\":\"“You know what, most of all, I’d love to compose a big, orchestral soundtrack for a folk horror film. We would do that really well at that,” says Freeman-Taylor. 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