REVIEW – HONEYWHEELER (EP) by HONEYWHEELER
Australia isn’t necessarily the first country that springs to mind when one thinks of world-class rock bands, but cast your eye down the following list – AC/DC, Midnight Oil, INXS, Crowded House, Silverchair, Karnivool, Pendulum and Tame Impala – and it’s evident that for a sparsely-populated nation it certainly punches above its weight. The two decades-old (fuck me! Was it really that long ago? Seems like last week) explosion of Grunge/Britpop clearly left its mark on the Antipodean musical consciousness, if this eponymously-titled EP by Aussie rock four-piece Honeywheeler is anything to go by: the Bandcamp blurb describes lead singer Angel Love Owens as an ‘unabashed ’90s kid’, and knowing – by way of her blog – of her feminist inclinations I mentally put two and two together and came up with L7. In fact, the songs on this EP bear scant similarity to the tampon-flinging LA Grunge rockers save for occasional excursions into a dirtier, riffier guitar attack on Best Thing and Eat Your Heart Out: which is not to suggest that the …Wheelers lack Yankee, Riot Grrl attitude; rather that it’s tempered with a more characteristically-British sweetness and light…
Because this ‘Alternative Rock’ which soundtracked my mis-spent teens and early twenties developed independently on both sides of the Atlantic, and Honeywheeler takes its fair share of inspiration from each scene; and whilst it would be a stretch to say the band have created much that is truly original, they’ve clearly put in their 10,000 hours and then some: there’s no denying that they understand the mechanics of a good pop tune, and know how to capture it crisply and powerfully on ‘record’.
And if it seems unfairly reductive, not to say a tad sexist, to trot out a slew of comparisons to female-fronted Indie bands, Honeywheeler does wear its Alt-’90s heart on its plaid-clad sleeve: whilst listening to this EP I had a mental image of a young Owens practising her Justine Frischmann and Louise Post moves in front of a dressing table mirror. And if she stops short of Donita Sparks‘ ‘back the fuck up’ snarl, it’s clear she ain’t got no truck with your lily-livered, whiney-ass mansplainin’, either and you’d best listen, dammit! She does sweet and sardonic; hard and heartbroken with equal ease and conviction. The musical backing is, for the most part, capably-executed and not short of hooks, and though Owens takes the songwriting credits on all tracks, three of the four members (also comprising Chris Ellis [Gt], Andy Coles [Bs] and Damien Grove [Dr]) contribute guitar so it’s a hard job to assign proper credit for individual performances.
Two of the five tracks on offer here do step some way outside of that (’90s) mould, though. Lyrics aside, I Don’t Love You could be one of Grant Hart‘s more cheerful offerings from Hüsker Dü, circa Warehouse: and driving closer, I’m Over It (by far the best thing on here) shows musical ambitions outside of straight pop. Its nearly-five minutes allow room for guitar histrionics without succumbing to cheesy rock-god posturing and Owens‘ delivery is both urgent and impassioned, with guest vocalist Michael Strong (…And The Ghost Anyway, The Disappointed) adding louche, gravelled counterpoints: their interplay is reminiscent – though only a little – of Pure Reason Revolution‘s Jon Courtney and Chloë Alper which is no bad thing in my book. And I love the quirky little synth outro on Another: although Owens‘ is credited with keys, those parts are mostly understated. These moments hint towards a more expansive rock sound and the benefits of additional synthetic ear-candy and suggest two potential directions the band might explore to expand their musical palette.
Here’s a link to the EP via their Bandcamp page – style gurus note the ‘fridge magnet’ option – the coolest rock accessory since Mastodon‘s The Hunter key chain 😉 Enjoy!