And from the ashes of BARAFOETIDA did rise BARA. And on the thirteenth day of the third month of the year two thousand twenty-six, it being a Friday of distinction most foul and luckless, BARA did unleash upon the world through the tentacled wiles of Club Inferno Entertainment their debut album known in circles both dark and melancholic as Cry Mary. And that's me trying to be all goth and old church like. But, yeah, BARA. Goth Rock band out of Italy. To be honest I haven't really kept up with the Goth scene since the winding down of BAUHAUS and, of course, the delicious years of THEATRE OF TRAGEDY, which was really more about Liz Kristine than anything else. And with that you know for sure I am not any sort of goth expert. But I do know what I like and I like this new album from BARA.

Mary Cry comprises eight tracks, including one cover—"Die, Die My Darling" from the MISFITS. Altogether it's a good 33 minutes long. It has all the trappings of a solid Goth Rock band—well-refined riffs that would be heavy as all hell but for the subdued db levels; synths that sneak in like a cold fog, setting the atmosphere and blocking the escape; and signature baritone vocals leading the way into the dark. Bass and drums, of course, set the tempo and keep everything from sinking into an ocean of despair. I should note here that there are several guest musicians in the mix, including Pino Sinnone and Miss Hell on drums as well as Alessio Trapella and Diego Banchero on bass.  

I can't say that any overarching theme is at play across the album. The cover depicts a three-faced sculpture that is neither dark nor moving, giving off a 'three faces of Eve' vibe. The songs themselves cover a wide spectrum of goth tropes—ravens, flames, dreams, death, and unrequited love. But uninspiring album art aside, the album itself is captivating. Luke's mesmerizing vocals, those synths that just waft and weave and the guitars that scratch like some sort of animal trying to claw out of your brain—it all works to wrap you up tight in a blanket of cold nostalgia.

Best tracks include "Mary Cry" . . . I mean it's the title track for a reason;  "Raven's Day" because it's just so gothy; "Obscura Somnia" because it's Latin and every good Goth band needs at least one song title in Latin; and "The End" for its infectious riff and also for Luke breaking away from his moody baritone and into some pretty high soaring stuff (although he does that on "Obscura Somnia" as well) . . . oh, and a great guitar solo. Shit, it might be the best track on the album. The MISFITS cover, btw, has been done by too many others to make much an impression here.

I didn't expect to like this album as much as I did. I love that it doesn't get lost in sappiness. A little more db and distortion and this could push into a real sweet spot. I should also say that Luca Stoppa is something of a riff meister. I just hope he doesn't run out of 'em! Great way to rise from the ashes, this album.