Mary’s White Lie: Orlando shoegaze that favors mood and songwriting over maximal fuzz

# What this release is

Mary's White Lie, a new Orlando band formed by Brett Bissey and Dylon Webb, has issued Stable of Stone, an EP that leans into shoegaze textures while holding closely to indie singer-songwriter craft. Rather than plumbing shoegaze for maximal noise, the band uses fuzz and feedback sparingly to expand moods and emphasize song dynamics.

# How the band formed

Bissey and Webb began collaborating after covering Elliott Smith songs in a local cover-band contest billed as "Hoster's Only Son." That initial collaboration yielded the song "Hello, Hello," which led to more writing and recording and the eventual formation of Mary's White Lie. The project recently became a live quartet with the additions of bassist Dan Perez and drummer Marshall Prose.

# What the music sounds like

Openers such as "Horsey" start in a contemplative, acoustic space—what the review calls "window-gazer" rather than immediate shoegaze. As choruses approach, feedback and guitar rise to create lift, but rarely drown the arrangement. Songs like "Nevermind (Used to It)" and "Hello, Hello" open as quiet, Elliott Smith–style whispers and allow noise to gather gradually. The result is a nuanced duality: intimacy in the songwriting and restraint in the application of sonic haze.

The review contrasts Mary's White Lie with heavier shoegaze traditions—My Bloody Valentine's "smothering blanket" is cited as an example the band does not follow. Instead, fuzz is one element among many: a thread within broader atmosphere rather than the entire fabric.

# Why this matters locally

In a regional scene where shoegaze has seen a revival, the band's approach offers an alternative to more homogenous or alt-rock-leaning acts. Mary's White Lie's debut positions them as part of Orlando's evolving indie landscape, bringing a more songwriter-forward sensibility to a genre that often prizes texture over lyricism.

# Notable tracks and moments

• "Horsey": Begins small, swells with guitar feedback at the chorus for a balanced payoff.
• "Nevermind (Used to It)" and "Hello, Hello": Start as hushed acoustic pieces and build into layered, atmospheric passages.

These songs illustrate the band's method of letting noise serve the song rather than subsume it.

# Availability and next steps

Stable of Stone now streams on major platforms. The band's recent shift to a full live lineup suggests upcoming performances that will present these songs in a fuller concert context.

# Bottom line

If you're interested in shoegaze that prioritizes melody, lyrical intimacy and controlled atmosphere over constant loudness, Mary's White Lie's Stable of Stone offers a measured and promising debut. It uses shoegaze techniques selectively to support honest songwriting rather than to define identity exclusively by texture.