Debut album · 2026
Larry Hans
Ten songs about the life of Mary, in an order that cannot be shuffled: this is not a collection, it is a story. It begins in an ordinary house in the middle of the night and ends asking for one last companion.
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Between the first song and the last there is room for a carpenter walking down the village hill with fresh timber and falling in love, a girl fetching water from the river and singing on the way home, a young mother crossing the hills of Judea in a hurry, the cold of Bethlehem, a wedding that ran out of wine, a cross, an empty tomb and an everyday prayer. None of it is told as a holy card: each song walks into the scene.
Larry Hans sings all ten and never puts himself in Mary's place: he narrates from outside, like someone retelling what he was told and cares far too much about. The only time he lends his voice to anyone is the second song, where Joseph speaks. Much of the album is addressed to Jesus — that «mi Jesús» that keeps returning; three songs speak directly to Her.
And it is held together by threads that run from beginning to end: the nylon-string guitar carries the verses, the pre-chorus is always left hanging, unresolved, and the chorus behind it resolves it; the final chorus lifts a whole tone; and a solo violin signs off every goodbye. On top of that base, each song brings its own signature — trumpets, a recorder, frame drums, hand claps, a cello, a music box.
Every song has its own page, with the full lyric, the player and links to all three stores. Tap any of them.
Album opener · first single
In the deepest part of the night a man opens his eyes, and She is sitting on the bed — close enough to touch Her blue mantle. He says nothing: he can't. The album opens with the scene that gives it its name, told by someone who still doesn't quite believe it, over trumpets that greet from a distance instead of announcing.
Read the lyric and listen →Romantic ballad
Joseph walks down the village hill at dusk, carrying fresh timber for his workshop, and She appears «soft as the breeze». He can't manage a greeting. That same night he can no longer sleep. It's the only song where Larry doesn't narrate from outside: he lends his voice to Joseph and tells the falling-in-love from within.
Read the lyric and listen →Mystical pastoral
Before the angel, before the story began, there was a girl who fetched water from the river and sang on the way home. The song stops right there, in the stretch nobody tells, to look at the young woman who already was who she was long before anyone asked her.
Read the lyric and listen →Second single · declarative blast
Mary leaves Nazareth the moment the angel goes and crosses the hills of Judea with the haste of faith. Elizabeth opens the door, sees her, and cries out. Here the album leaves intimacy behind and proclaims: brass with bite, backing vocals and a refrain that qualifies nothing — it repeats identically all three times, on purpose.
Read the lyric and listen →A big one · written to resonate with mothers
It was cold in Bethlehem, there was no room at any inn and the cradle was dry straw. The song doesn't stop at the pretty picture: it walks into the stable, with a young, exhausted mother and a man holding her hands each time she broke. It was written so a mother could recognise herself in Her, not in a holy card.
Read the lyric and listen →Festive and danceable — the album's breath
The wine ran out in the middle of a wedding and She knows before anyone else. It's the only song made to be danced to — hand claps, tambourines, a party rhythm — and at the same time the one that best explains what it means for a mother to intercede: she knew it, believed it, wanted it, asked for it.
Read the lyric and listen →The dark centre of the album
The dark centre of the album. The Cross, told from the Mother who watches and can do nothing. A cello carries the whole song; no brass, no party, no easy comfort. It is the track you have to cross in order to reach the next one.
Read the lyric and listen →Easter jubilation
And on the third day the whole band comes in: shouted hallelujahs, brass and Easter drums. With a care you only notice reading slowly — the song never says She was the first to see, it says she was the first to believe. That is the difference between poetic licence and the truth.
Read the lyric and listen →Devotional
The prayer of every day, the one said without thinking. A music box opens it, and the song travels a whole life on the same repeated phrase: first for my own, then in the dark hours, at the end in my final hour.
Read the lyric and listen →Closing track
The end. A bare guitar and a simple request: that when the moment comes, it be She who is waiting. The blue mantle of the first song returns and the album closes its circle — She came looking for you, now it is you asking to go. A solo violin holds the last note, the longest on the record.
Read the lyric and listen →The album opens and closes on the same image, the blue mantle. In the first song She comes down to your house in the middle of the night; in the last, it is you asking to go to Hers and be received in that same mantle. In between, a whole life goes by: Joseph falling in love, the Annunciation, Bethlehem, the wedding at Cana, the Cross, Easter and, at the end, the prayer of every day.
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About the life of Mary told in ten ordered scenes: Joseph falling in love, the Annunciation, the Visitation, Bethlehem, the wedding at Cana, the Cross, Easter and the everyday prayer. Each song steps inside the scene instead of describing it from outside.
Because it is not a compilation, it is a story. The order runs from a night-time apparition to a final request, and the album opens and closes with the same image: the blue mantle. In the first song She comes down to your house; in the last, you are the one asking to go to Hers.
It is the image that binds the album. It appears in the first song, when a man wakes and sees Her sitting on his bed, close enough to touch Her mantle, and it returns in the last, when he asks to be received in that same mantle. It is the circle that closes the record.
Never. He always narrates from outside, like someone retelling something he was told and cares too much about. The single exception is track 2, «Cuando te vi», where he lends his voice to Joseph and tells the falling-in-love from within.
A nylon-string guitar carries the verses, the pre-chorus is always left hanging unresolved and the chorus behind it resolves it, the final chorus rises a tone, and a solo violin signs off every ending. Over that shared base, each song brings its own instrumental signature.
«No nos creerían», track 6, the wedding at Cana. It is the only one made to be danced to, with handclaps, tambourines and a wedding rhythm. Tracks 4 and 5 are the double burst of joy; track 6 is the festive breath before the dark centre.
«El día que Te dije adiós», track 7: the Cross told from the Mother who watches and can do nothing. A cello carries the whole song, and there are no brass, no celebration and no easy comfort. It is the dark centre of the album.
Yes, and deliberately careful. «Madre de Dios» follows Luke 1:39-56 almost literally; «No nos creerían» comes from John 2:1-11; «Se cumplió la profecía» was rewritten so as not to say She was the first to see her risen son, but the first to believe, which is what the biblical account says.
Yes, and they are kept distinct. In «Antes del Sí» Joachim and Anne appear, Mary's parents according to the Protoevangelium of James: a venerated tradition, not dogma. The Immaculate Conception is left implicit and never proclaimed. The album does not confuse what the Church defines with what piety preserves.
The UPC is 882422691710. The ISRCs of the ten songs run from QT6FP2692519 to QT6FP2692528, in album order. These are the current codes; any earlier code circulating from a previous distribution is obsolete.
About 59 minutes across ten songs. It is deliberately long: no song drops below 5:34 and the longest, «El día que naciste», reaches 6:29. It is designed to be heard whole, in one sitting.
Much of the album is addressed to Jesus, with that «mi Jesús» that keeps returning. Three songs speak directly to Her. And one, «Cuando te vi», is sung by Joseph in the first person. There is never a song in which Mary herself speaks.
The record was written to be prayed, so that is exactly the use it was made for. To play the recordings at a public event, or to sing them with a choir, the right step is to write first to soy@larryhans.com and ask.
Because the order is part of the work. Releasing the songs one a month would have delivered ten tracks and no story. The album came out complete on 31 July 2026, with all ten available the same day.
On this very site: every song has its page with the full lyric, that track's player and the links to the stores. Each one also carries a downloadable PDF sheet with the lyric in print and a dedication written for that song.
I don't know your name or where you live, but the map says you were here. Thank you for putting this music on in your house, in your car or in your headphones, at whatever hour it was — every flag below is someone who stopped by to say hello.
Statements