'The only thing more excessive than an album that took three years to make is a wall-of-sound rock 'n' roll album, filled with neo-classic romantic songwriting and expansive layering of guitars, synthesizers, and harmonies. That is Roman XS,' explains Hayley. Such a rich set of influences could only lead to a mammoth body of work which is why it took the time it did. 'It may be indulgent to take your time until you feel you've made something of substance. And it may be indulgent to spend every cent you have (and many you don't have) on studios and producers. Let's face it, it's indulgent to be a musician,' Hayley shares. 'It's excessive to romanticise the diesel-guzzling 80s in the way this album does, and to litter it with gothic religious and pagan symbolism and hysteria to boot, but, perhaps, in a way, it is also just reactionary punk in the age of musical minimalism.' Hayley Mary found her footing in the original era of indie-slease with Sydney band The Jezabels who found their early success with their emotive, new-wave sound and quickly gained recognition as an enigmatic frontwoman. After a few years of international success and touring, the band went into hiatus, leading Hayley to pursue a solo career of her own making. Following a stint collaborating with various musicians across the UK, Hayley returned to Sydney and her guitar rock roots to release three pop rock solo EPs The Piss, The Perfume, The Drip and Fall In Love, including the anthemic single 'Like A Woman Should', which boomed in popularity through the TV series 'Maid'. Working with producer Scott Horscroft (Silverchair, The Presets) and co-producer Oscar Dawson (Holy Holy), these combined her trademark quirky, provocative, romantic lyricism with a more aggressive classic-rock/singer-songwriter style, receiving praise from NME, Pilerats, Life Without Andy, Sydney Morning Herald and Tone Deaf. The releases lead to support for the likes of DMA'S, Liam Gallagher, and Tim Finn, as well as festival offers, including the UK's Great Escape.