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Honeyblood

HoneybloodBest Honeyblood Albums Ranked

6.9

Avg Score

8

Opinions

3

Albums

5

Reviewers

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About

Summary from 8 ratings

On Wavelength, fans have rated Honeyblood's catalog across 3 albums from 8 opinions, with an overall average of 6.9/10. The top-rated Honeyblood album is Babes Never Die (2016) with a 7.7/10 average from 3 ratings, followed by Honeyblood and In Plain Sight. The discography on Wavelength spans 2014 to 2019.

Babes Never Die

Babes Never Die

nme
8.0

Honeyblood have never suffered fools gladly. On 2014’s self-titled debut, Glasgow duo Stina Tweeddale and Cat Myers laid into scumbag exes and cheating heartbreakers. Follow-up ‘Babes Never Die’ is just as angry and their sometimes gauzy alt-rock is beefed up to ferocious levels. Where last time round rubbish men were in the firing line, this time it’s haters. ‘Babes Never Die’, a v-flicking ode

Babes Never Die

Babes Never Die

thelineofbestfit
8.0

Honeyblood's Babes Never Die is a testament to survival

In Plain Sight

In Plain Sight

thelineofbestfit
7.0

Third time’s a charm on Honeyblood’s malevolent In Plain Sight

Babes Never Die

Babes Never Die

loudandquiet
7.0

‘Babes Never Die’ is a phrase that Honeyblood’s lead singer, Stina Tweeddale, is trying her hardest to spread as a kind of camp, new age mantra. She’s taking it quite seriously: the slogan is tattooed on her ribs, there’s a paragraph of her press release dedicated to it and, along with her band, she’s written a second album to spread the ‘Babes…’ message, which she has devised a whole non-gendered

Honeyblood

Honeyblood

pitchfork
6.8

After a decidedly lo-fi debut EP, Glasgow indie-pop duo Honeyblood joined forces with producer Peter Katis (the National, Interpol) for their self-titled LP; in turn, Honeyblood doesn’t sound overproduced as much as it does properly heightened, like a well-developed photograph.

In Plain Sight

In Plain Sight

nme
4.0

And then there was one. Now the solo project of Stina Tweeddale, Honeyblood’s ‘In Plain Sight’ is a searing third record with clear anthem-baiting ambitions. There are shades of The Kills to be found in these spiky juggernaut riffs. Menacing yé-yé chants linger in the background like a troublesome rabble. John Congleton’s bulked-up production is looming and huge; this is a record made to take up e

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