http://bandcamp.com/EmbeddedPlayer/v=2/album=3782408245/size=grande3/bgcol=FFFFFF/linkcol=4285BB/
Honeyfeet are the wonderful kind of eclectic alternative you love to discover in the stumble-upon fashion, a folksy dream of a group that so sublimely match the “live performance is the only truly lasting format” ethos of Debt Records, you have to wonder whether owner Louis Barabbas crafted the label around them.
Even with Sam Buckley’s growling vocals on the likes of ‘The Deed’ and ‘Flowers’ – from their debut EP Little Boat – more than a touch reminiscent of Louis himself, it’s ultimately vocalist/flautist Ríoghnach Connolly who flaunts unpredictable yet incredible range to the point where you feel compelled to experience the majesty of her talent in person. Labelling the ensemble near peerless wouldn’t be too much of a stretch to imagine if you were to discover Honeyfeet in the right venue at the right time.
There’s just a trace of Laura Marling in Connolly’s vocals, if you’re looking for comparison, but I’d be so bold as to suggest that Connolly offers more. Manchester have themselves a wonderful talent fronting a terrific brand of exuberant diversity like little else.
http://bandcamp.com/EmbeddedPlayer/v=2/album=3782408245/size=grande3/bgcol=FFFFFF/linkcol=4285BB/
While their EP exhibits some of the best “foot-banging” sound around, I will say this: it’s within the multifarious spectacle ‘Knocking (On Another Man’s Door)’ where you’ll hear the very best of Honeyfeet.
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