Honeyblood Coming To The Castle & Falcon
Friday October 25th – 7pm to 11pm
When Stina Tweeddale got home after two years on the road touring Honeyblood‘s second album ‘Babes Never Die’ (2016) something terrifying happened. She was haunted. Every night when she went to bed in her own house in Glasgow after living in strange hotel rooms, a woman would come to try and strangle her.
Stina still doesn’t totally fathom what was going on. But it makes a bit more sense when you learn of Honeyblood‘s past year: Honeyblood are no longer a duo. Three albums in, Stina has decided to claim the sole spotlight of she project she started seven years ago.
‘In Plain Sight’ was recorded during Halloween season in 2018 with John Congleton [Angel Olsen, Sharon Van Etten, St Vincent] in his LA studio. Congleton was a dream-come-true; a producer who she’d admired for making guitar-based music that didn’t feel traditional. “You make a wish and then it’s like: How the fuck did I manage to do that?” You can immediately hear Congleton’s ability to realise Stina’s wider vision this time. In the past, Honeyblood was tethered to a straight-laced, noise-orientated rock sound. Now freed of a guitar/drums format, Stina is able to invite flourishes of other styles. The dirgey doom of ‘Take The Wheel’, the Depeche Mode moody synth-work of ‘Touch’ and the shuffling ’90s groove of ‘Twisting The Aces’ have created the most diverse palette for her stories yet. Yet classic shouty grrl anthems like ‘Gibberish’ still impact with a familiar fury.
Previously signed to FatCat, the re-haul of Honeyblood has also seen Stina enter a brand new relationship with Marathon Artists (home to Courtney Barnett, POND and Jagwar Ma), a natural fit and the right home for this evolution. On ‘In Plain Sight’, Honeyblood has faced fears and abandoned status quo. The piano anti-ballad ‘Harmless’ is an intentional end. It’s about owning up to your own faults and hiding behind a tough exterior to mask your vulnerabilities. In Honeyblood, Stina has boldly tackled the next chapter of her journey alone, and in the shifting sands she’s found new textures and possibilities.