MAREUX
We exist in an interesting time of virality. We consume media in such a rapid cycle, in no doubt thanks to social media; movies, shows, and especially music come and go, and even if a piece of art is truly excellent, there’s a good chance it could be swept away by the algorithm, replaced by something else the next day. One hit wonders still exist, only now the life cycle is even more expedited. In comes Mareux, LA-based dark wave project helmed by Aryan Ashtiani. A long standing musical endeavor, Ashtiani has been dishing out laid-back, despondent echoes from the void for over a decade. However, he achieved his biggest break in 2021 with the release of “The Perfect Girl”, an unrecognizable and admitted upgrade of a Cure cut from 1987. With a co-sign from Tiktok (and many fan edits of Euphoria actress Sydney Sweeney), Mareux became an overnight sensation, an honorable heir to the throne built by Siouxsie Sioux, The Sisters of Mercy, and of course, The Cure.
And now, we’ve been given the gift of Mareux’s debut album, Lovers From the Past, a 9-track dirge enveloping every possible shade of grey, a masterclass in moodiness and a truly exceptional full-length offering for an artist at his apex. So, after a whirlwind viral hit, a stellar debut album, and a slot at Coachella 2023, how does Mareux bring his studio mastery to the stage? He brought his laidback LA cool to Music Hall of Williamsburg and dropped a cheeky 10-song set soaked in laughter and commiseration. A light touch of humor, and we were off.
The set began with the title from the new album, “Lovers From the Past”, a tense and groovy number that puts Mareux’s signature sound on full display. With a driving, steady beat, hushed yet commanding vocals, and the perfectly reverbed guitar (plus a deliciously retro synth lead), the song is a crash course in how to set a mood.
”Summertime” followed, a fan favorite cut from the 2020 Predestiny EP. A lurid, lo-fi jam, the song propelled the audience forward with reckless abandon. A grounded guitar groove doused in echo and throbbing bass synths filled the room with the viscous aura of hot summer air, perfect for the song’s title (and ironic considering the mid-May chill in the air outside).
The compressed dancefloor filler “Scorpio” kept the beat going, with rapid drums and light, lingering synth leads melding with Ashtiani’s deep baritone, lulling the audience to peace with the repetition of the line “It’s all about trusting”; the dark shepherd luring his fans into a sense of macabre calm.
Of course, the night wasn’t all new romantics. At the midway point of the show, when introducing the track “Roses”, Ashianti works the crowd: “This song is about my ex, anyone have an ex they hate?” A brave soul in the first row shouts “NICK!”, and in a moment Mareux is rallying the crowd in a group chant: “Everyone say ‘FUCK NICK!’” It was a moment so unexpected that it made the heartbreaking impact of the following song just a little less painful.
Given that the album is masterfully recorded and mixed, it’s no surprise that the songs from Lovers From the Past translate flawlessly to the live setting. Single and album opener “Night Vision” is a crystalline blend of funeral dirge and prom night sway. The kinetic buzzsaw of “Killer” gives the song a pummeling catharsis as it blossoms into the chorus. My personal favorite, “Little Lies”, unfurls in a gorgeous bed of steady drum fills and howling synths. Ashtiani is the cool eye of the storm, the foreboding of his deep baritone conveying the hurt and yearning the song allows effortlessly: “She’s the one so clearly”.
The main set culminated with “Gopnik”, an industrial stomper that turns the downtrodden dancefloor into a jumped-up maelstrom. “We don’t typically make dance songs, so you better dance to this,” said Ashtiani. Not long after, he leapt off the stage, surfing over the crowd before coming down and raging in the center of the floor. After building up tension for the duration of the show, it only felt fitting to end it with an explosive, headbanging release.
Rounding out the 10-track show was, naturally, “The Perfect Girl”, the algorithm-busting cold wave cut that served as the the perfect cooldown and ultimate closure for the evening. Wide-eyed and level with the audience, Ashtiani felt at one with the synth stabs and the decayed bass. A fantastic song and a great show closer; it is undeniable that Mareux has made the song his own.
At Music Hall of Williamsburg, in just 10 songs and under 45 minutes, Mareux demonstrated his true power as a musician. A brilliant songwriter and tinkerer of mood and vibe, he can take the classic sounds of post-punk and cold wave and update them with contemporary sensibilities. With a keen ear for sonic texturing, he can meld gothic darkwave with lo-fi techno, industrial heft, and indie rock cool to make a concoction of classic aesthetics with a 21st century sheen. The fact that these fully formed songs can transmute to the stage so perfectly is a testament to their creator’s undeniable skill. A veteran of bedroom recording and a fun-loving brooder, it’s clear that Aryan Ashtiani has earned his place at the forefront of the decadent, dark and danceable.
- Aaron
