总部位于伦敦南部的三人组蜜糖是与Speedy Wunderground合作的最新乐队，该乐队由Dan Carey主持的独立唱片公司，似乎是即将到来的乐队中最好的。不说服吗？喜欢黑色MIDI, Squid andBlack Country, New Roadhave all had releases on the label, whilst Carey has also worked withFontaines D.C.amongst others.
那么，Honeyglaze如何适合SW模具？简而言之，他们是下一个适合后朋克的火炬手，该朋克一直在他们开始称呼家的伦敦南部现场。但是，更深入地挖掘，您会发现它们真的不能被淘汰。“我们的音乐风格彼此完全不同。我们在音乐上的品味多种多样，这在我们演奏时就会出现。” Sokolow说道。
Curtis cuts in, “I think we get bored. We just don’t want to keep on playing the same kind of song, so every time we come up with a new song it’ll come out different, and that’s a good thing. Rather than saying ‘this is the Honeyglaze sound’, anything will go.”
“I think we get excited as well,” Sokolow admits. “When we manage to pull a new style or sound into something that we thought was very one-dimensional, it’s quite exciting for us.”
如前所述，与Speedy Wunderground签约意味着乐队与La Roux和Kae Tempest的唱片所有者Dan Carey合作。与该标签还位于伦敦南部，他不必看太远就能发现他的下一个神童演出：霍尼格拉泽。确实，当涉及到一起工作时，他们想捕捉到一种特殊的能量。
“We definitely as a band focus on live performance first and foremost. So, when we come into the recording studio we don’t need very much, and I think they’re very amenable to that” says Curtis. “I think the fast process, the thing they’re most famous for, really suited us. We recorded everything in one or two takes, we don’t really get bogged down in details,” Sokolow explains.
Going underground
Honeyglaze是一支拒绝居住完美主义的乐队，不惧怕展示他们最原始的声音。在影响其吉他演奏凭证的角度方面，有许多传奇名字脱颖而出，尤其是乔尼·格林伍德（Jonny Greenwood）和尼克·德雷克对于他们自己独特的游戏风格，索科洛（Sokolow）特别提到了安吉尔·奥尔森（Angel Olsen），并欣赏了她对乐器的“稀疏和原始”方法。
近年来，尤其是该乐队在伦敦南部的家中，有一个不安的繁殖地，其中一些最激动人心的吉他乐队涌入了英国的独立和朋克后场景。那么，是什么使它成为音乐灵感的重要领域？索科洛说：“我认为这是社区，也许很少有场地有很大的不同，很多乐队都被凝结到同一地方。”
“There’s a lot of young students, especially art students who are concentrated in that kind of sweet spot. In terms of The Windmill, Tim Perry (the venue’s booker) who is a big part of that has great taste and a good ear” says Curtis. “The Windmill offers upcoming bands a chance to get noticed, with a constant ear to the ground on who has a distinct style that can find a place within the UK independent music scene.”
根据柯蒂斯（Curtis）的说法，场地周围可能会有一些误解：“风车场景实际上只有40％的后朋克，其余的都是各种音乐，只有在这家酒吧闲逛的人。我们很自在与现场联系在一起，因为这是我们的实际社区。风格不是重点，而只是协会。”
开始新事物
在英国第一个锁定之前，三人组已经从阴影中脱颖而出，并准备发行一张全长的首张专辑。这是一个感觉多态性的LP，无法仅仅以一种样式或流派存在，而是在各种迭代中移动。从您可能会从伦敦对应者那里期望的慢速机械节奏到类似于当代独立摇滚歌手（例如朱莉娅·杰克林（Julia Jacklin）或霍夫维）的旋律序列。
The album captures a very specific moment within the band’s stylistic genesis. Sokolow describes the process as “a snapshot of a certain time. I think we’ve changed so much, it’s very insular [the album]. At that point it was in lockdown, and we weren’t seeing new bands, we weren’t seeing each other or playing together, so it was made during quite an isolated time.”
为了实现整个新专辑中发现的原始声音，Sokolow被利用了海象音频ARP-87在超速踏板之前延迟。弄清动态并“弄清楚我们在努力时能拥有多少钱”的关键过程。”
The entire album process came together very rapidly for Honeyglaze, as is customary under Dan Carey’s watch. They only needed three days in the studio to record, a blistering pace from the outside looking in, but as natural as they wanted in order to harness as much of that untamed live sound as possible.
It’s a long way to come for what was originally Sokolow’s solo project, but unwilling to be pigeonholed into the ‘singer-songwriter’ category she pushed for a wider line-up. “I’d never really played a show on my own. The first time I did play it was me and a lap steel guitar. I thought it would be interesting to have some other people helping me and I knew these guys were talented, so I just asked them.”
少数几次Quickfire彩排后来，他们在风车上登上舞台，进行一次性节目，这表明了“居住”的开始。对于年轻的乐队来说，这是一个旋风，但他们在受控的混乱中拥抱甚至蓬勃发展。
Honeyglaze的最新单曲创造性的嫉妒, is out now on快速的wunderground。