Ronan O'BrienLoaded Honey, honey!
Loaded Honey are an offshoot of the soulful dancepop group Jungle. Formed in 2013 by friends Josh Lloyd-Watson and Tom McFarland, the pair have experienced huge success with the group. Their success started early in their career, with their first album appearing on the shortlist for the 2014 Mercury Prize. While the group had an ever-changing lineup, the latest addition to the group was Lydia Kitto in 2021.
Following Kitto’s addition to the group, she and J Lloyd have been involved in a creative closeness. This resulted in the birth of their side project, Loaded Honey. The duo, while living together, allowed the music to come itself. There was no strict schedule, no deadlines, just feelings. And this is reflected beautifully in their debut album, Love Made Trees.
The album has a feeling of closeness. It’s warm, it’s loving and it’s incredibly blissful. There is love in the album; in every track in fact. Whether or not that comes from an unannounced romance between the two, the heartfelt melodies and jingles here can warm the coldest of hearts.
In Your Arms
The album opens with some beautiful guitar, and the repetition of a loving affirmation. It sets the standard for the album, the slowness and closeness wraps around the listener’s heart like a cocoon. “In Your Arms” sounds like the type of song selected for a newlyweds first dance. The instrumentals provide this beautiful serenity, the strings are subtle yet blissful. It’s simple, but oh-so wonderful. Much like the entirety of the album, this track sounds like it’s from the 50’s. The execution of that soul, doo-wop sound with modern production is something to behold, and this is clear from the start.
The opener is followed by a slightly funkier beat in “Don’t Speak”. This track is less romantic, but loved up nonetheless. Kitto’s vocals are absolutely wonderful, and the backing vocals provide a beautiful harmony. Lyrically, it points to frustration in a relationship, perhaps even jealousy. The beat is light yet funky, and there are so many layers to the percussion and strings. Elements like bongos, the staccato in the cymbals; it’s a true homage to their multi-instrumental-ism talents from their careers as Jungle.
“Cisco Bay” follows with an equally funky beat. Kitto’s vocals are once again beautiful. Her delivery in that higher register tickles the heartstrings in such a pleasant way. The backing vocals are strong here, with the constant “ooohs” giving it that true doo-wop sound. The lyrics are so simple, yet effective. “All my life / We’ll be together / It’s all on track / We’re holding hands”. There really doesn’t have to be more to it than telling someone you love them, and I think that’s beautiful.
Lessons
“Lessons” honestly sounds like a modern version of The Ronettes. There is wonderful harmony in the vocals, and the “pom-pom-pom” arpeggios are blissfully executed. Again, there is no real depth to the lyrics, but there doesn’t need to be. When a song has so many instrumental layers intertwining like lovers fingers, it speaks volumes for itself.
The sweetness follows with “Bullet” which blends R&B instrumentals with that yearning soulful delivery from Kitto yet again. Slightly distorted, her vocals allow the attention to go to the instruments. I would be astounded if this track in particular doesn’t get sampled by some hip-hop artist. The guitar and bass play off each other in a really harmonious way, they almost sound like they’re in love as well. The beauty of romance is found in every crevice on this album, it’s ridiculous in a way.
The 1950’s sound is strongest in the song “Over”. Kitto switches to a lower range of vocals, and lyrically there’s a sadder element to it. “Don’t hold my hand / I know it’s tough” which is echoed by male vocals give it the feeling of amicable breakup. The instrumentals are so stripped back, with only a bass and two-step drums supporting the majority of the song. This helps retain that retro sound, and it’s so impressive how modern it can sound at the same time.
Tokyo Rain
The title track sounds like a lullaby. It’s slow and soothing in a way. The guitars strum in a minimalist way, and are accompanied by swelling strings and a downtempo beat. It comes across as an interlude, but in reality it’s sad. There’s no optimism to it, there’s nothing left to hold on to. “The fire’s cold / You said in words / You did it all before / With undue care / I’m sorry that / I’m leaving out the door”. I suppose it shows not every love story has a happy ending.
“Tokyo Rain” is the most Jungle track on the album. The instrumental can easily be mistaken as something from The Avalanches too. It sees a return of Kitto back to that higher register in her delivery, and boy is it sweet. It’s the type of song playing in your head when your eyes sparkle at that one special person. Once again it’s laid back, but there are so many layers in the instruments which makes it so impressive. It sounds like a paradox, but it’s more of a testament to J Lloyd’s talents.
The Jungle-esque sound continues into “Really Love” where the layers of instrumentals remain impressive. Kitto is in that higher register again, and there’s a return of the doo-wop style in the backing vocals. There’s slight questioning of love in the lyrics, with the repetition of the burning question, “Oh tell me / Was it really / Really love”. Even in the slightly downtempo and sadder songs, the feeling of love shines through in remarkable fashion.
Hello Stranger
The penultimate track on the album is jingly in every way. “Only Gonna Let You Down” has Kitto firmly in that upper vocal register. It’s slightly upbeat, but lamenting. The apology of, “Sorry that I let you down” is accompanied by the song rising instrumentally. The drums pick up and the guitars are grooving. The vocals are harmonious, giving the impression of a sorrowful argument.
The album is wrapped up beautifully with “Hello Stranger”. Once again, it has that 1950’s sound and a slow main melody. There are layers upon layers in this track, both instrumentally and vocally. There is another lamenting sound to this track, but lyrically it sounds like a greeting and farewell to a long lost love. The ending with “Goodbye baby / Don’t you cry” before abruptly cutting out leaves the listener fulfilled but wanting more. And that’s exactly what happens. I can’t help myself from going back to track 1 and starting all over again.
Final Thoughts
If I had to describe this album in one word, that word would be blissful. It’s a beautiful collection of feelings, not songs. The tracks sound so effortless, it makes the listening experience too easy. Each and every piece of this album sounds as if it has been plucked from a romantic movie.
Love doesn’t exactly need a soundtrack, but if it had one, this would be it.
