Here’s how Maruja crafted their debut, ‘Pain to Power.’ Hint: ‘It’s pretty hardcore’

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Maruja’s music isn’t merely following the times; it’s a reflection of them.

This up-and-coming rock group, known for their groundbreaking debut album “Pain to Power” that dropped on Friday, has made a distinctive mark in the current music industry, earning admiration and sparking curiosity with their inventive use of instruments and creative songwriting skills.

However, the four-piece band originating from Manchester, consisting of Harry Wilkinson, Matt Buonaccorsi, Joe Carroll, and Jacob Hayes, have successfully completed their journey in creating music, recording it, and performing it live.

The significant achievement can largely be attributed to the three EPs they released – “Knocknarea” (in 2023), “Connla’s Well” (in 2024) and “Tir na nÓg” (in 2025). Each release incorporates aspects of post-punk, jazz rock, and art rock, creating an exciting musical mix.

Carroll shares that our touring has been non-stop for roughly two and a half years, with a chuckle over a video call. Last year alone, we managed approximately four months of performances across Europe, totaling 47 shows.

Immediately upon returning home from their tours, they dived straight back into work. In fact, the core concepts for “Pain to Power” were composed and recorded within just two consecutive months – January and February of this very year. Essentially, the studio became their second residence during that time.

“We had to just go ‘ham’ in the studio for six days a week. It’s pretty hardcore,” he says.

Some songs originated as improvisations that were set aside temporarily, with him explaining straightforwardly that “some lasted only two hours, while others needed two years.

However, these “jams” posed no problem for the band, since they seemed to have continued playing them effortlessly, as if they had never stopped.

Buonaccorsi notes that all our composed songs seem to belong to the same universe, yet they can appear distinct due to varying perspectives or lenses.

The midpoint of the album, titled “Born to Die,” has been a significant part of the last couple of years. It showcases one of the album’s most striking sonic transitions. Additionally, it undertakes an immense challenge by blending various ongoing motifs and exploring the core themes of the project in depth.

In his opening lines, Wilkinson seems enlightened, as though a beam of light has revealed to him, “I comprehend the value of this life, for we are ethereal souls and our realm is the very Earth beneath us.

The melody is gentle, featuring a distant, mournful saxophone intermittently appearing within the rhythm of the drums. It’s nearly like a symphony, lasting close to seven minutes before fading into a soothing stillness.

He says, “Emotions are temporary guests / Vying for our focus / Steering clear of triggers / Yet striving for growth,” continuing in a soliloquy-like manner.

In this rephrased version, let’s break it down: Hayes storms in with his drums in perfect harmony with Wilkinson’s guitar and a captivating bassline by Buanoccorsi. Unsurprisingly, Carroll’s saxophone joins the rhythm. The tune transitions to calmness momentarily before rebuilding momentum for “Break The Tension.

As a passionate advocate, I’d express it like this: “Embarking on this album is an invigorating journey that continues throughout, shifting back and forth between turmoil and tranquility. The second half of ‘Pain to Power’ truly shines, and the standout moments come in the sequence consisting of ‘Trenches,’ ‘Zaytoun,’ and the nearly 10-minute closer ‘Reconcile.’

Wilkinson clarifies, “What you’re witnessing are the themes of pain that we’re expressing through these songs. We’re channeling our aggression, our pain, and our anger from tracks like ‘Bloodsport,’ ‘Look Down On Us’… into something stunning, and this transformation is evident in a track like ‘Saoirse.’

Buonaccorsi notes that this album is quite diverse,” he says. “It includes softer and more personal tracks, as well as louder, intense, wild, and energetic ones. Yet, despite their differences, each song seems to fit seamlessly within the same musical realm.

“Saoirse,” the third track on the album, reflects the somber first half of “Born to Die.”

Wilkinson’s song repeats the idea that “it’s our unique qualities that make us attractive and special,” which is very fitting for Maruja.

As a movie reviewer, I found myself drawn into the enchanting world of the Irish folk band, “Saoirse.” Named after a word that embodies Ireland’s yearning for freedom from British rule and self-expression, it’s no surprise that their music echoes this deep connection to their homeland. Titles like “Tir na nÓg” and “Connla’s Well,” scattered across their albums, serve as poignant reminders of Ireland’s rich history and cultural identity.

But how did a British outfit become synonymous with Irish activism?

During the making of ‘Knockarea,’ my father became severely unwell, which prompted me to spend more time with my grandparents,” Carroll recalls. “They shared with me fascinating stories about my great-grandfather, who was a skilled photographer.

Ultimately, we utilized every one of his images for the initial phases of the music project. All the black-and-white photos you see are actually those taken by my great grandfather in Ireland. This led me to become quite fascinated with my Irish roots, a passion I carry dearly and feel deeply connected to the culture and the land.

According to the group, they exhibit a significant connection between their fervent advocacy for Palestinian rights and the long-standing stance of the Irish. As Hayes explains, “They were pioneers among Western governments in publicly expressing solidarity with the Palestinian population.

I too express my concerns about my homeland, Britain, being involved in the complex Israel-Palestine conflict. According to me, it seems deeply implicated in this ongoing dispute.

Hayes asserts that the historical colonization of Ireland by the British Empire, followed by the actions of the Black and Tans’ secret police in Palestine, reflect the continuing colonialist and imperialist tendencies of the modern British government.

According to reports from The Irish Times, Winston Churchill requested a specialized police unit made up of both his Auxiliary forces and the Black and Tans to be sent to Palestine during unrest in 1921. These units were previously stationed in Ireland but were later transferred to Palestine when their services were no longer required in Ireland.

In England, the persistent hypocrisy that appears to dominate our political sphere continues unabated, he remarks. We aim to provide a platform for those who are otherwise unheard… If we can help shed light on their cause, send a message, and expose the involvement of our government in these issues, then it’s our responsibility to do so.

On “Bloodsport,” this is clear, with Wilkinson crying out pleas to the world.

When faced with choosing between two harmful actions, both of which demonstrate societal indifference, it’s disheartening to realize that there’s little left to care about.”

This paraphrase preserves the original meaning while using simpler and more straightforward language. It is easier for a reader to understand quickly and without needing to re-read or think too deeply about the sentence structure.

As a passionate cinephile, I can’t help but notice how deeply intertwined their activism is with their music. This duality has unquestionably played a significant role in catapulting the band to global fame. Yet, for them, it’s not about accolades or recognition. Instead, it’s simply a part of their duty as individuals who wield the power of art and expression. Their music serves as a reflection of this commitment they hold dear.

He clarifies that we mirror our surroundings, living amidst political strife, ongoing wars, and a world in distress.

Buonaccorsi joins the conversation, quoting Nina Simone’s words: “For an artist, it’s their responsibility, in my opinion, to mirror the current times.

He emphasizes that it’s essential for us to discuss issues that deeply concern us, matters that we believe should not persist within the world. He refers to the brutalities and atrocities that previously remained hidden from our lifetime experiences, but are now vividly displayed on our smartphone screens for all to see.

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2025-09-12 23:01