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Honeycut : The Kotori Interview
Honeycut: Ã¢â‚¬Å“The Day I Turned to Glass
HoneycutÃ¢â‚¬â„¢s electro-symphonic-soul debut Ã¢â‚¬Å“The Day I Turned to Glassis fronted by the feathery vocals of Bart Davenport, MPC guru Tony Sevener, and French-born incomparable keyboardist/samples Herve Ã¢â‚¬Å“RV Salters (formerly of General Elektriks). The fact that it is a Quannum release immediately warrants Honeycut their props.
As the first track, and inevitable single Ã¢â‚¬Å“The Day I Turned to Glass, begins its orchestral determination, DavenportÃ¢â‚¬â„¢s airy pipes, through thick drums, assert Ã¢â‚¬Å“Just cause you got a broken toe/ donÃ¢â‚¬â„¢t mean you canÃ¢â‚¬â„¢t stand up tall.Ã‚Â The songÃ¢â‚¬â„¢s dark strength in violin and hard beats conflict with the brittle implication of the lyrics: Ã¢â‚¬Å“One day I might break.Ã‚Â At once accusatory and self-reflexive, the title trackÃ¢â‚¬â„¢s character demonstrates what RV describes as a quality shared by all personalities the band explores: "the characters in our lyrics are not afraid to expose their fragile sides, theyÃ¢â‚¬â„¢re not capitalist-type winners made out of concrete, they have doubts and thatÃ¢â‚¬â„¢s ok in our book.
Salters says Ã¢â‚¬Å“there is a certain cinematic feel to the album, and so we liked the idea of giving it a title that could also read as a movie title, like a psychological thriller.Ã‚Â No song on the album harkens to cinematic imagery quite like Ã¢â‚¬Å“Aluminum City; easily the creepy opener for a movie of the same name about circus clowns cavorting in post-apocalyptic New York City with videogame-faced robotic bunnies.Ã‚Â Ok.Ã‚Â That could be going a little far.
HoneycutÃ¢â‚¬â„¢s distinct sounds descend as much from instrumental savvy as they do from dedicated collaboration between the three musicians.Ã‚Â SalterÃ¢â‚¬â„¢s esteem for his band mates is evidenced in his description of Tony SevenerÃ¢â‚¬â„¢s playing as Ã¢â‚¬Å“Ã¢â‚¬Â¦ sharing the fluidity of live drumming and the solidity of hip hop programming.Ã‚Â [He] also takes that duality to the stage; as he plays all the songs on his MPC live, with his fingers, playing it like itÃ¢â‚¬â„¢s a drum kit. His beats sound very organic. Certain tracks sound implicitly live like the jazzier, funk cut Ã¢â‚¬Å“Crowded Avenue."
DavenportÃ¢â‚¬â„¢s determined voice flicking back and forth in this track aside the lyrical tenderness of Ã¢â‚¬Å“The Day I turned to Glass makes soulful songwriting no longer fragile but a matter of Ã¢â‚¬Å“telling it like it is. This fusion fully compels the listener. ItÃ¢â‚¬â„¢s a real soul first experimental soul pop collection.
Each trackÃ¢â‚¬â„¢s incredible diversity joins with the entire album, creating a carefully paced expression from Ã¢â‚¬Å“The Day I turned to Glass to Ã¢â‚¬Å“Fallen To Greed. The albumÃ¢â‚¬â„¢s granite texture merges with a plateau of perfectly timed melodic keyboards that build up and down throughout each track.
Each intensely eccentric composition transforms in a blink from one aural plane to the next, declaring an ever-changing array of inner self and expressive essence.Ã‚Â HoneycutÃ¢â‚¬â„¢s inspiration is summed up by Salters:Ã‚Â "Anything inspires me, a ray of sun coming through the window, a movie, a sensation, other artists, etcÃ¢â‚¬Â¦ ItÃ¢â‚¬â„¢s about grabbing the instants when you feel elated and rolling with them."
While HoneycutÃ¢â‚¬â„¢s catchy, twisted beats and convoluted sonic manipulations defy categorization, Salters revels in the ambiguity: Ã¢â‚¬Å“IÃ¢â‚¬â„¢m proud of the fact that people have a hard time describing it, but still seem to be able to latch onto it easily. Truly a listening experience,Ã‚Â Ã¢â‚¬Å“The Day I Turned to Glass fervently challenges pop and soul, managing an exploratory, malleable first release.