Whiskey and Lust, Mary and Brianna’s latest EP, is a collection of amusingly light-hearted songs about boy-girl issues that are crafted with wit and humor.
Poetic lyrics deftly weave through the songs even as the music for each song is stylistic unique. The acoustic instruments and slight country twang give this EP a country aesthetic, while the repetitive hooks and production style make it more pop and universally appealing. The cliche country music motifs are not entirely absent from the songs, but they've been repackaged and presented in a very relatable way.
The album starts with “Leave the City,” a romantic song inspired by Nashville's countryside; sometimes you just want to leave the city to be alone with your lover. Lyrics like, "Take me down a backroad where the river echoes,” and ". . . let the lights fade in the rearview; Into the dark parked under the moon," give the song a country vibe even though there is no explicit reference to pickup trucks and dirt roads.
The second song on the album, “Clockwork,” is a little more jazzy than the other songs on the EP. However, it's little more traditional in substance in that it’s about a woman recognizing her own weakness for someone less than ideal. She wants to distance herself, but succumbs to the temptation because “Darkness hides the truth, and leads me to your house,” and “Even at your worst I’m running back to you like clockwork.” Love drives us to make choices that aren't ideal, but make them, we do.
In "Whiskey and Lust," the third song and one that was driven by a cool sounding title per Mary, we see how normalized it is for women to speak of men as they have and do of women. “Now your body’s a mansion worth a fortune; Every inch of your skin better than any famous portrait; So let me explore you and all your functions.”
“Shuffle” is very sassy. The girl/woman singing bluntly declares “my mind changes like a playlist, babe” and compares men to songs in an irreverently straightforward way: “You’re like that song; I’m given you a minute; But if I can’t sing it (sh..sh); Then I’m movin’ on; I sh...shuffle on; Is that so wrong? I’ve given you a listen; But I’m missin’ what I’m missin’; Sooooo. I’m onto the next one.”
The last song, “In the Morning” is a flirty number that practically purrs. “I love you in the morning, look at you and I start fallin’ again; I do a little dance in the mirror, in your t-shirt little barefoot flirtin’; And the best part of last night is I…I get to love you in the morning.” Like the rest of the songs on the EP, this one is not overtly explicit, just demurely sexy.