UK project THE HONEY POT was, at least at the time of the recording of their debut album “To the Edge of the World”, a four person strong unit with a certain shared affection for the music of yesteryear. Since the release of of their album, issued through fledgling UK label Mega Dodo Records, the band has been reduced to a trio from what I understand. But still actively invoking the spirit of a lost age when the world was a much easier place to, if not live in then at least understand. Possibly.
This is an album all about the 1960’s, if that isn’t obvious by now. Unlike many artists that looks back to that time, one of the references that isn’t high on the list here is The Beatles. Those with a strong affection for The Fab Four and their sound won’t find too much of specific interest here, surprisingly enough. Fans of other artists from that era might enjoy this ride quite a bit more though, with The Kinks, The Rolling Stones and The Doors as possible suitable references for the material at hand. This isn’t a purebred retro ride though, as some subtly more contemporary oriented details does pop up now and then. Power pop is an expression that covers that detail quite nicely I guess, alongside some occasional details that to my ears gave associations to The Madness.
The canvas explored is a fairly broad one in other words. Elegant, catchy and energetic psychedelic pop music with a likely power reference as in the stunning title track that kicks off this production in a brilliant manner, but also corny, quirky and off kilter psychedelic pop and rock with a distinct British atmosphere as explored on Comfys Honey Jar and Florence. Sleepy, dreamladen light toned ballad oriented affairs with a strong feeling of innocence pops up on regular occasions too, as does darker toned, solemn and subtly more ominous sounding material that should appeal to fans of The Doors. Here Come The Dreams a likely candidate to bring to the front in that department.
With alternating and combined male and female lead vocals the band adds quite a bit of variety also to the vocals department, utilizing the differences in timbres and delivery to good effect to focus on differences in moods and atmosphere. And for a truly stunning finale we’re treated to the gentle, careful Sweet Orange Sunshine, a dreamladen affair that by way of subtle effects in the vocals and instrument department transforms this superficially dreamladen affair into more of a brooding, solemn and distinctly sad creation in all it’s careful beauty.
Fans of 1960’s oriented psychedelic pop and rock should know their visiting time as far as this band and album is concerned, and if you have a particular fondness of material from this age that focus on bands such as The Kinks and The Doors, with a wee bit of The Rolling Stones and possibly early garage rock to boot, then The Honey Pot should be a band that will have a strong appeal.
My rating: 81/100
