Wednesday 23 Jul
 
 

Planting the seed

“We think about it as a team,” she said. “Watching so many bands for so long and standing in the audience, I was like, ‘I want to try that.’ After playing by yourself for so many years and seeing what level you can reach with so many musicians coming in, you pretty much have to.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Friday-Saturday
Downtown Tulsa 
centeroftheuniversefestival.com 
$35-$50 

07/22/2014 | Comments 0

Mack truckin’

Swizzymack
9 p.m. Friday 
Kamp’s Lounge 
1310 NW 25th St. 
lndrnrs.com 
819-6004 
$10-$15 

07/23/2014 | Comments 0

Chevy cruisin’

Chevy Woods with Kevin Gates & more
9 p.m. Sunday 
Vibe Night Club 
227 SW 25th St. 
$20-$40 

07/16/2014 | Comments 0

Rock steady

Tesla
7 p.m. Saturday
Frontier City
11501 N. Interstate 35 Service Road 
frontiercity.com
478-2140
Free with park admission 

07/16/2014 | Comments 0
Home · Articles · Reviews · Folk · Honeylark — Heavy
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Honeylark — Heavy


Louis Fowler January 7th, 2014

The Oklahoma City music scene has been abuzz about Honeylark the past couple of weeks. Once you listen to their latest release, Heavy, you realize the hype is deadly justifiable.

The Americana outfit, led by Natalie Moore Houck and Ryan Houck, captures that unique Oklahoma Red Dirt sound, but in this case, the red is ominously stained crimson and the dirt is ready to be thrown on top of a coffin. This is the soundtrack of Okie-noir pulps and backwoods eulogies, left-for-dead lovers and dying dreamers.

The album openers “Widow” and especially “Love is Red” set the tone of things to come as the listener looks down and starts to see the aural blood on their hands. The speakeasy jazz of “Afternoon” is a smoking gun, but “Alas” is the upbeat, poppy bullet aimed right for the heart of those who’ve been “feeling sorry” for themselves. True crime meets true love for a truly original soundscape.

But even after you’re long dead and buried, the mystery continues as Natalie’s sultry, smoky vocals seduce the freshly deceased like a siren on the river Styx. “Cold and still is the lake tonight,” she coos on the Lee Hazlewood-esque “Bones,” and you sure as hell better believe it and be ready to follow her into the underworld.

It’s fitting that the best track on the album is “Hospital,” with the lullaby-like saunter of “tell me where it hurts” calmly delivering the listener into Death’s cold but welcoming arms. Good thing he has great taste in music. — Louis Fowler

 
  • Currently 3.5/5 Stars.
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