The Rescue Rooms archives: 2016


  • Monday 31st October 2016
  • Supported by: TBC

2016 Honne New

Genre: Electronic soul


At first, HONNE feel like something you've heard somewhere before. There's this nagging feeling of reminiscence, that their gossamer synths, the shuddering drum tracks, the sheer ache of those vocals must have come from somewhere. But after searching through countless iTunes lists, Spotify playlists and piles of vinyl the following conclusion becomes rapidly apparent: HONNE sound absolutely, resolutely like themselves.

“No one's ever said to us, oh, you sound just like this person... and that's what we always set out to achieve,” explains James, one half of the East London duo. “A sound where you can hear a few influences maybe, but not directly like something. We didn't want it to be too derivative of anything else.”

His cohort Andy nods in agreement: “For sure. Yeah, because you've got to stand out, don't you, from everyone else, in order to have your own little place. Because you don't want to slip away into insignificance, to a place where everyone is doing the same thing. And I think we do that. You can draw some sort of comparisons, but at the same time I don't think there's a direct comparison.”

There's a sense of soul within HONNE's songwriting, which comes matched to a commitment to melody, to something the postie could sing on his rounds, that comes wrapped in that gorgeous, digitally-drenched production. “Those are the elements,” says James. “But it's not only that, it's the harmonics – some of the chords that we use, it is a little bit soulful, some of the chord progressions. I think at the heart of all our songs there is a 'song', song. A traditional song. If you take everything away and I just say on a piano and Andy sang it then it would sound like a proper, fully formed song.”

Andy clearly agrees. “You could take everything away,” he states, “and it would still have something nice there to play.”

- Clash Magazine

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