Not since the forgettable Duffy have we heard such intense shocks of half-shouted, half-sung vocal form than we do in Honeyblood’s bombastic new single The Third Degree (and I’m sorry for that Duffy comparison but, rest assured, this band far surpass her due to their earnestness, coolness and much higher general quality).
Lyrically, The Third Degree is very situational and damning of the singer’s portrayed character’s ex-fling, now languishing at a bar with a new squeeze - and I say “character” because we must never assume, darling. No, never.
Anyway, the title of The Third Degree links in to the hypothetical “burns” left upon the song’s narrative subject as a result of the relationship, but could also be used as a double entendre to the identically worded term describing an intense interrogation. Now, admittedly, this link is never explicitly stated in the song, however I feel it works as a clever summation of a failed relationship (new details of one’s character arises, situations develop as a result, the relationship becomes compromised or changes to an unsalvageable degree in light of the new information and yes I do need therapy), whether the intention of the writer or not.
So yeah, if you’re reading this, Honeyblood, and it wasn’t intended... well... okay, look, just pretend it was. We won’t know any better.
Inspiration-wise, the song has a euphorically melodic chorus reminiscent of the Kids In America cover by Canadian alternative rock duo Len. Anyone remember the Digimon movie...? Where’re my nineties kids at?! Anyway, couple that with the idea to steal Simon & Garfunkel’s tin whistle for the latter sections of the song (no doubt an allusion to Noel Gallagher’s Holy Mountain single from late 2017) and you’ve got a veritable swinging hit on your hands.
Extended, gradually descending harmonies of the word “life” at the end of the bridge into the final chorus is also very sixties; this adds to the song’s aforementioned swinging spirit with a note hold that brims with corduroy attitude and mop-haired floral naivety. There’s also notable rock grunge underlying all of this niche retro mystique in the pulsating guitar, drenched with effects pedal goodness (so much so that I had to dry my ears after listening, though that could have just been lobe sweat, let’s not dwell). It’s a driving rhythm and bass line that keeps you interested in the vocalist’s spotlight focus, making up for any real lack of musical variety outside of the verse/chorus alteration (whilst not forgetting that bridge into the final chorus, of course).
When compared to Honeyblood’s previous work, The Third Degree is a departure from their familiar indie punk aesthetic (an appropriate moment to cite a brilliant older single, Sea Hearts), and the question I must ask myself is this: are these changes welcome?
Hm, good question, Chris. Very good.
My greatly anticipated answer: I would say that, overall, the song is much simpler and less experimental in structure to their usual work, but this is no bad thing. It suggests to me that they have a variety of personal taste and that their experimental song structures evidence their willingness to experiment with genres of songwriting, which excites me. The Third Degree is certainly a callback to an older audio aesthetic (whilst also riffing on the similar callbacks of some of the band’s contemporaries), all the while adding a spice of modernity to the lusciously grungy mix.
I like eclectic music at the best of times, as I do female artists (of which the industry desperately needs more of, you backward prigs), but it’s even better when the two come together in a raucously talented bundle. The Third Degree is not Honeyblood’s best song - and frankly will never achieve that status - but it is a highly listenable and entertaining single, though with a slightly repetitive chorus.
In short: The Third Degree will offer something surprising to existing Honeyblood fans while also undoubtedly enticing several sonically titillated newbies.
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