Year : 2014
Genre : Indie Rock with a strong fascination of Doom and Sludge
Label : Independent
Origin: United States
Official site : > - here - <
HoneyTrash works best-, even bestest when its members are channeling the Black Sabbathian doom you can perceive the impervious silhouettes of in the background of pretty much all four songs on display herein. I don't even know of these men are aware of the quasi-fact that their music is supremely close to the timeless soul crushing charisma of sludge, but it might be so that their mere unawareness of it is the main attraction force of their strategies on how to defile silence with streamlined/hyper-optimized style and reckless abandon. The music on this EP always conveys the deceivingly calm sensation you feel before "teh" storm that is about to flatline the place you live in.
HoneyTrash, while misleadingly portraying itself as a stone-traditional indie blues rock affair upon surface inspection, is not reluctant nor incapable to instill superb sonic sensations of maddening decay into the fray, and a truly keen affection towards exotic, evil, aggressive chordal work also is observable: check out the chord being played in track number 2, at 3:20, for example: this is the type of harmony Cthulhu finds himself deeply affected of, pun not only intended, but willfully absorbed. Read on to know more about the disc.
As noted, the disc occupies an organic intersection between blues rock AND much more darker, doomy, sludgy moods, and this behavior is the reason why the music works so efficiently. Track number 3, "Wicked Woman" solidifies this trend with a relentless 4/4 pummel and King Cobra-grade doom riffage that emerges infectious without the utilization of groove metal heft - yet it is ultra-clear that what you hear is the very same musical field Dimebag Darrell and the Crowbar Squad is/are premiere propagator(s) of.
One thing I find interesting about the disc, is the totally laid back-, yet authentic performance of the lead vocalist. She manages to occupy a position from which she almost comes across as an evil/dangerous/optimally instable (as a narrative threat) variant of a female Morten Harket, and I direct this notion as a compliment, not as trolling. Notice the climax of the concluding track, how the singer compliments the decayed, haunting guitar sounds of soul-infector doom-power with a vocal performance that finds considerable joy in posing relevant and impertinent in such malicious/malignant company, knowing that her voiced sentiments are punctuated with imperturbable riff power. Which brings us to the concluding question: why is that so that the singer always is laid back, and what it could feel like when she is about to rip your fucking heart out, like a sludge singer on a mission? Something tells me that the band generated this EP with clear intentions to stimulate interest in their imminent full length, and I, for one, would not be surprised if they'd showcase an entire new set of automotive gears at a later date, a set of gears that they did not yet utilize herein, on this EP. It is not to say that the music isn't of a strong character already - it IS of such character. Yet, at this current form, it is deliberately streamlined into a nice, compact form of menace, it is the gaze of a beast that promises to fuck me up soon, quite-quite soon, aaaaaannny minute noooooooow ...... and now I want to see it making its first move. A nice surprise, go check these guys out, or they will massacre you while you order pizza.
HoneyTrash at BandCamp.
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