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Glasgow two-piece Honeyblood announce the release of their eponymous, debut LP.

Recorded at legendary producer Peter Katis' Tarquin Studios (The National, Interpol) in just ten days last November, 'Honeyblood' is an accomplished and delightfully fierce record. "Peter was the perfect match for us," singer/guitarist Stina Tweeddale said of the recording. "He perfectly managed to capture our live performance in the studio." From the urgent guitar and dive-bomb drums of opener 'Fall Forever', the album twists through the gutsy punk of 'Killer Bangs', to reveal discordant anthems like 'Super Rat'. It has pared down alt pop gems in the likes of 'Biro' and 'No Spare Key', but also more country/folk influenced moments like, '(I'd Rather Be) Anywhere But Here', 'Braid Burn Valley' and 'Bud'.

The band started from humble DIY beginnings, organising their own guerrilla show at The Old Hairdressers in Glasgow to commemorate the release of a raucous two-track cassette entitled, 'Thrift Shop'. Honeyblood quickly ingrained themselves into the bustling Glaswegian scene, fast becoming one of its most talked-about names and going on to play festivals everywhere from The Great Escape to their native T In The Park. But with their full-length debut ready to go, big name supports, and world tours locked, 2014 certainly looks to be the year with Honeyblood's name written all over it.


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REVIEWS

Honeyblood by Honeyblood
1 review. Write a review for us »
7/10 Mike Staff review, 11 July 2014
Here's the eponymous debut LP from Glasgow duo Honeyblood, who are Stina Marie Claire Tweeddale on vocals, guitar and piano and Shona McVicar on drums and vocals. They play a pleasant mixture of hazy California-style '60s girl-group-inspired slacker pop (think Best Coast), impassioned post-grunge (think Bleached/Tracy Bonham/Rainer Maria) and downbeat folkish numbers, all tied together with dreamy vocal harmonies. There's some crunchy C86-esque jangle-pop slipped in on 'Killer Bangs' that leaves me wishing they'd play with horrible guitar tones a bit more.   The album was recorded in Tarquin Studios where The National record, and the sound is somewhat slick and moody and big, with buddies drafted in on keys and bass, but to me that's a bit frustrating because I think if they'd stuck to a more bare and awkward formula the songs (which are perfectly fine) would seem much less conventional and formulaic, and I presume that's how they do it live. It's not a bad album by any means though, good solid '90s style indie-grunge with the odd weepie ballad.



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