Album Review: XR

Marsha are a four-piece band from Ōtautahi, Christchurch.

Have you heard of them?

Their sound was originally labelled as post punk, parts experimental rock, but they do sit firmly in the indie rock genre. They’re still experimental, and they’re clearly a band with a lot of talent.

Their debut album, In Circles was released in 2024 and was a labour of love having been in the recording process since 2021. Having toured solidly in promotion, they’ve not stalled in getting their new album out there.

This is XR.

Cankersore has a frenetic energy. At first it seems dizzying, then evens out after a long jangly guitar intro. When you think it stands as an instrumental, you’re then met with Sam Williams’ greeting vocals, giving a hint at what’s to come.

And it wouldn’t be a solid new album without mentioning their latest single, Carpet.

That familiar indie jangle of a gentle guitar riff. Beachy, unbothered, and sweet. But then the tempo changes and you start hearing more openness. The heavier riff, the soaring vocals. This is where the ‘maybe still experimental’ starts to tune in.

Magdalene has a straight up The Hives meets The Strokes energy and it’s immediately familiar, yet completely new. Great tempo, again with those jangly guitar riffs courtesy from both Sam and guitarist, Felix Mendonça. The riffs become edgier, more frenetic again, weaving in and out. You’re not sure where it might take you, but then it comes back to the beginning guitar riffs and a no nonsense ending. Clean and no frills.

A special mention goes to Graze. A delicate and hazy state of a song. Are you awake or dreaming when you hear it? It sits in between the two. In the beginning, its riffs are gentle never becoming too much or too little. A nice tempo change, a more deliberate guitar strum and vocals from Sam that stay even and reassuring. Even when that tempo changes again, edgier vocals, heavier riffs, it’s still never too much. A permanently dipped toe into the experimental rock side, the riffs daring to become more, feedback left lingering and that drum beat rising a touch becoming more focal. It’s catchy and shows Marsha’s ability to shift gears when needed. The pacing is great, showing good control, not messy, just even.

It’s a solid and well produced piece of work for Marsha. They’re not exactly textbook indie, showing they’ve got plenty of sides to them, but nor are they so far out there it becomes confusing.

They play well, they sound great, and I’m sure XR will be a crowd favourite.