Album Review: HONHEEHONHEE – Shouts
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Sure honey is a sweet treat, and consuming twice as much would surely be that much sweeter (minus the cavities you’ll likely inflict on yourself)… but in all seriousness, if you’re looking for any sort of good time in the slightest, look no further than Montreal indie-rockers Honheehonhee.
With the release of their debut EP Shouts last month (and officially Dec.16th in Toronto), the Quebec quintet are just beginning to illustrate the songwriting prowess that surely emanates out of every pore on each of their musically-inclined bodies.
When an album starts off with a four-count with all band members progressively becoming more hoarse as their exclamations increase in volume, intensity and entropy… you immediately get the impression that what’s to follow is going to be grand… and that all hell is about to break loose…
And if hell were a place filled with crazy party animals like Honheehonhee dancing to catchy rock music while being showered in Skittles (which the band professes a fondness for), then you might as well just sign me up right now so I don’t have to stand in line when I get there.
KORG-heavy in all of the best possible ways, Shouts gives off an air of banter-and-good-time-inducing fun that all of the best party soundtracks should strive to attain.
Every song on the album is catchy as hell, and the recorded versions are surpassed only by the … well, liveliness… of the band’s live set (which you best be coming out to see at The El Mocambo if you’re in Toronto tonight)
‘We Only Go’ starts off the album with a bang that’s sure to induce some moshing in the crowd at live shows, or at least some head-bobbing and toe-tapping from you at your desk with your headphones on.
Likewise, ‘Rumours in the New Morgue’ (Edgar Allan Poe or Iron Maiden reference… you be the judge), ‘A. Is For Animal’ and ‘B. Rooftop Archipelagos’ close off the first half of the EP with a dance-y flair; driving drum-backing and punchy bass riffs form the foundation and keep everything moving at a brisk pace while the guitars and aforementioned KORG add some musical spice for good measure – the vocals get lost a bit sometimes, even with the additional falsettos – but it’s all still damn catchy.
Honheehonhee switch it up a bit in the back half: ‘Intro: My Lips, Your Voice’ starts out a little more subdued, but the multi-part vocal harmonies are still prominently featured alongside the steady ride cymbal, arpeggiated guitar and journeying bass riff … until the mid-song build where the KORG bites back with a vengeance at the two-minute mark. From here on out it’s more of the same witty riffs, shouting and sing-alongs that one begins to expect, and it’s infectious.
Regardless of if their name is derived from sweets, terms of intimate endearment, or donkey-like vocalizations, do yourself a favour and get to know Honheehonhee right NOW… lest you become the last one in your group of friends to the take the leap of awesome … because then that would make you the un-cool one…
… and we shun that one at parties.
- RYAN STEPHENSON PRICE