Honey Lung
Post Modern Motorcade Music
Big Scary Monsters

London’s Honey Lung, are back with their second ep, Post Modern Motorcade Music, and, frankly, they couldn’t be coming along at a better moment.  I reviewed their second single, ‘Juggle,’ from this ep back in April, and was very enthusiastic.  ‘Juggle’ is the closer of this five-song ep.

Honey Lung are usually described as 90s shoegazer revivalists, drawing influences from everything from Swervedriver and Ride to the Smashing Pumpkins (this comparison helps in that frontman Jamie Bitten looks kinda like James Iha), but, in reality, they’re sun-shinier, poppier than their apparent 90s analogues.  Certainly, I can hear all those influences in their music, but they are not simply a sum of those influences, Honey Lung bring their own swagger to their sound.

Post Modern Motorcade Music opens with ‘Getting Off,’ a shimmery, sun-baked track with a thundering bassline and drums, grounding the guitars, which veer from the Swervedriverish to Ride.  Batten oozes cool.  But if ‘Getting Off’ is one thing, ‘Be My Friend’ is something else, a much shinier, poppier guitar track, and Batten’s voice is higher in the mix.  This is a sugary guitar music at its best.  It is also the first recent single from the ep.

‘Name’ begins off with acoustic guitar and bass, and Batten wondering if

Could I be inside your little head
Could I use the the time to make things better?

This track remains mellow, even pretty, as Batten addresses a disintegrating relationship over that acoustic guitar and a fluttering electric lead.

Their most recent single, ‘Big,’ is a jangly, shiny guitar track, centred around an insanely catchy lead riff.  And by catchy, I mean it, I have heard this song three times and I cannot get this freaking riff out of my head.


And, of course, the ep ends with ‘Juggle,’ which I described as

a bouncy, guitar and synth dominant, jangly, powerhouse of a song, recalling some of the grandaddies of 90s shoegazer, including Chapterhouse and Ride.  It is actually a very pretty song due to the synth and some drum loops.  Frontman Batten’s vocals are both lucid and buried into the mix, and his slashing guitars build up to a crescendo at the end of the song.  David Sherry’s bass and Omri Covo’s drums provide the song with its bounce, and Harry Chambers, who usually plays guitar, provides the beauty of the synth.

I stand by that description.  And taken as a whole, Post Modern Motorcade Music is a welcome addition to my music library.