Posts Tagged ‘Honeymoon’

Sad surf honey tries to ride the biggest wave in the Midwest, Born in a tsunami off the coast of Kahoolawe, Beach Bunny was raised as a sea critter till the time her paws were strong enough to swim. By 1961 she had learned how to speak the language of every ocean and trekked from Rainbow Falls to Eastern California where she was exposed to the reverb-drenched surf culture of Orange County. Bunny became hypnotized by the exotic noise and by 1968 found herself singing the Sunset Strip alongside psychedelic west coasters and teen dropouts. Bunny released her first EP “Animalism” the following year, and is currently swimming the Gulf of Mexico in pursuit of positive vibes and new music.

Riding high after their debut Honeymoon was featured on all the crucial Album of the Year listings, Chicago indie pop band Beach Bunny now continue their rapid rise to the top with new EP Blame Game. Featuring the single “Good Girls (Don’t Get Used)”, Blame Game explores the dark territories where relationships turn toxic, as singer Lili explains; “As a veteran of engaging with emotionally unavailable people, I wanted to create a sassy song that calls out players by talking down to them as if they were children, showing that poor communication skills and mind games are immature.”

“It shifts the blame to the person that was acting disrespectful, instead of myself. The song also hammers home the point that I know my worth; I’m not afraid to call out players on their stupid behaviour, and I’m not going to tolerate being thrown around emotionally.” – Lili Trifilio

Beach Bunny album ‘Honeymoon’ was included in Best Albums of 2020 at The New York Times, Rolling Stone Magazine, Los Angeles Times & more!

beach bunny honeymoon

Emo garage-rock becomes thrillingly new on this Chicago band’s debut, driven by the bracingly real song writing of singer-guitarist Lili Trifilio. Pop-punk torpedoes like “Promises” and “Colorblind” power through self-doubt in a way that makes post-teen romantic angst seem at once archetypal yet wholly original; Beach Bunny are college-age kids who’ve been playing together for years, so there’s a surprisingly amount of song writing chops and musical precision here, and when Trifilio gets what she deserves on “Cloud 9,” singing “I don’t want to seem the way I do/but I’m confident when I’m with you,” you can’t help but want to jump up and high-five her.

Honeymoon is the excellent debut album from Beach Bunny, the four-piece band out of Chicago. Recorded at the iconic Chicago studio Electrical Audio with producer Joe Reinhart (Hop Along, Algernon Caldwaller), the nine songs on the LP burst with energy that capture their vital and life-affirming live shows. Songs like the swooning and anthemic singles “Dream Boy” and “Ms. California” encapsulate the highs and lows the exiting the honeymoon stage of a relationship.

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Beach Bunny found its initial legs in 2018 as fully formed fuzz-pop quartet, landing a streaming hit with the dark-witted body image paean “Prom Queen.” More so than on her earlier more-acoustic releases, Trifilio’s full-band version of Beach Bunny revealed a knack for infectious pop hooks played with a collaborative energy, which helped propel her anxious observations beyond mere folk confessionalism. The success of “Prom Queen” also helped the group net a deal with New York indie Mom + Pop Records, which offers up their full-length debut, Honeymoon.

Like the self-released EP that preceded it, Honeymoon capitalizes on Trifilio’s emotional honesty and strong melodic sense, but with a bolder production aesthetic, doing away with some of the lo-fi leanings of her previous output. Having spent the last couple of years gelling as a live band, Beach Bunny seem altogether more streamlined here, even flirting with elements of pop-punk precision on cuts like “Cuffing Season” and “Colorblind,” though without losing their indie charm. Most of the songs are up-tempo, with Trifilio taking a timeout on the introspective electric piano piece “Racetrack” and the more jagged “Rearview,” the latter of which is played entirely solo until its mighty final 30 seconds. Honeymoon is bookended by a pair of highlights in “Promises” and “Cloud 9,” two rousing tracks that connect squarely and showcase the best of what Beach Bunny can do.

There’s an endearing tenderness to Trifilio’s personal song writing style that mostly avoids emo clichés, and the band’s cautiously buoyant indie pop walks the line between sweet and muscular on this solid debut. The long-awaited debut LP “Honeymoon” from Beach Bunny follows their breakout hit with “Prom Queen” (65 million global streams). released February 14th, 2020 on Mom+Pop Records

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The growing notoriety and the conception of Beach Bunny’s debut album, “Honeymoon” this Bunny is a Chicago based pop band led by Lili Trifilio, who just graduated from DePaul University. After recently being signed to Mom+Pop Records, whose roster includes Courtney Barnett and Flume, the band released their first studio album, Honeymoon, on Valentine’s Day. During these years she has recorded several projects, found bandmates, toured and played Riot Fest and Lollapalooza, become verified on social media, signed to a major label and gained almost two million monthly listeners on Spotify – yet she remains incredibly humble. Although her bright purple hair and permanent warm smile stand out in a crowd, unless she’s on DePaul’s campus, one wouldn’t know that she is about to blow up into a major pop star.

This cover of a 100 gecs crossover status update: Their songs are being covered in whimsical fashion by pop-punk bands. This is a great thing.

From start to finish, Honeymoon is the bookends to a relationship – the highs of a new beginning and the lows of an unwanted end. But with each song there is a chapter filled with words any lover could highlight, with enough margin space to attach our own memories and feelings.

The album opens up with “Promises” – a song about the lack of closure post-break up. In the following track, “Cuffing Season,” themes smoothly form from these unresolved problems, resulting in the idea of commitment sounding impossible after heartbreak. Even with Trifilio’s trust issues, a motif listeners have heard before in her older tracks, Honeymoon comes with a new sense of ressaurance. Trifilio experiments with new vocal melodies and sounds confident. She is validating her own feelings and sings about setting boundaries.

Halfway through the album, “Rearview” slows things down and focuses on Trifilio’s voice and solo guitar. The band enters at the back end of the song with a thematic build up into the drums emphasizing her lyric, “I hate it when you catch me crying.” “Racetrack” is another minimal track that tugs on nostalgia with its music box-esque piano. The album ends on a high note with  “Cloud 9” – a pop banger that reveals the freedom and euphoria that can come from a happy and healthy relationship. The final words are, “You will always be my favorite form of loving.”

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Sometimes the simplest feelings are the most universal. When Beach Bunny lead singer Lili Trifilio sings, “You love me / I love you / You don’t love me anymore, I still do / I’m sorry / I’m trying / I hate it when you catch me crying” on “Rearview,” a slow pop-punk ballad that builds to a thrilling, hands-in-the-air finish, it’s hard not to think back to some time where you, too, have felt the exact same way.

It’s a cliché to say that this record’s lyrics read like a diary entry, but Honeymoon truly does: With the same raw energy as Camp Cope’s Georgia Maq or Best Coast’s Bethany Cosentino, Trifilio sings—and occasionally screams—of her innermost desires and heartbreaks over some of the smartest and catchiest pop-punk songwriting in quite some time. It’s easily the most fun album I’ve heard so far this year, a record that’s just begging to be played at parties once winter finally ends.

Debut Album ‘Honeymoon” 14th February

Beach Bunny started in 2015 as a solo outlet for the lead singer Lili Trifilio to process her feelings about a budding relationship. Her early recordings were spare, lo-fi and home-recorded, delicately tackling heartbreak and loss across EPs like 2015’s Animalism, 2016’s Pool Party, and 2017’s Crybaby. In 2017, the project became a full band with Matt Henkels (guitar), Anthony Vaccaro (bass) and Jonathan Alvarado (drums) joining on.

With the 2018 single “Sports” and their breakout 2018 EP Prom Queen, Beach Bunny is now one of Chicago’s most exciting indie rock bands. Their infectious and muscular new musical palate perfectly translated to a raucous, sing-along heavy live show. Though Trifilio’s songwriting remained just as resonant and intimate as her earliest efforts, having her self-described “family unit” backing her has brought a new vitality to these songs. Tracks like “Prom Queen” have earned them millions of streams and their obvious onstage chemistry charmed on tours with bands like PUP and Remo Drive.

With the announcement of Beach Bunny joining the M+P family, we are excited to give you the first single, “Dream Boy,” off their upcoming debut LP Honeymoon out February 14th, 2020. The album is available for pre-order everywhere with limited-edition merch and signed posters available on the band’s webstore. Check out the first single .

Along with the announcement of the new single and album, Beach Bunny has revealed a full headline tour across North America this Fall/Winter.

Lana Del Rey's 2015 "Honeymoon" single.

The album Honeymoon by Lana Del Rey swims, lounges and mugs for the camera in the impressionistic video for her Honeymoon tune “Music to Watch Boys To.” Although the clip features a few scenes that live up to the song’s male-objectifying title, the most curious vignette finds the singer reclining in a beach chair as gramophone horns spin around her and the silhouette of one of her boys plays basketball. Then, after a shot of them playing hoops, the camera gives her a close-up for her line about “singing soft-grunge.” Honeymoon is Lana Del Rey’s best yet album.

For her third long player ,the lyrical clichés that bogged her down before are still present, but far less frequently. In fact, those that remain often add charm to the Lana Del Rey experience. She’s finding her voice and owning a persona that’s unlike any of her pop peers. We’re ready to forgive her for whatever she was singing about Florida kilos — here are Honeymoon’s top 10 moments of Lana being Lana.

“All I wanna do is get high by the beach.” – “High By the Beach”

“Club queen on the downtown scene / prowling around at midnight” – “Art Deco”

Get ready to hit the club with Lana, and maybe Azealia Banks, the rumored subject of this song. When you open a song with this couplet you know you’re getting peak LDR; in this case, focused on fervor for 1920s American culture.

“Ground control to Major Tom / Can you hear me all night long?” – “Terrence Loves You”

Sometimes Lana’s lyrics really make the grade.

“Now you’re just another one of my problems / Because you got out of hand / We won’t survive, we’re sinking into the sand” – “High by the Beach”

There’s more to this song than the bowl-passing mantra of its chorus. In the second verse, Lana gets the upper hand on a lover who’s not worth it while alluding to the beach theme.

“Don’t you know, no one alive can always be an angel?” – “Don’t Let Me Be Misunderstood”

Lana didn’t write this one, of course, but she couldn’t have chosen a more lyrically appropriate song to take on.

“Come to California / Be a freak like me, too” – “Freak”

A lust for California has been in American pop music almost as long as there’s been American pop music. You know Lana’s Americana joy ride is going to stop there, and she doesn’t care if you think it’s cliché or not.

“When I’m down on my knees, you’re how I pray” – “Religion”

She’s made a lover her national anthem before, and now she’s calling one her religion. You better believe she’s going to juxtapose church with getting dirty.

“Calling out my name in the summer rain, ciao amore / Salvatore can wait / Now it’s time to eat soft ice cream”
“Salvatore”

Lana is putting love on hold for the munchies. “Now it’s time to eat soft ice cream”: coming to a meme near you in fall 2015.

“Beatboxing and rapping in the summer rain / Like a boss, he sang jazz and blues.” – “Salvatore”

“Carry me home, got my blue nail polish on / It’s my favorite color and my favorite tone of song.” – “The Blackest Day”

When the singer premiered the tune, which she co-wrote with “Summertime Sadness” collaborator Rick Boyles, on Zane Lowe’s Beats 1 show earlier this month, she called it one of her favorites on the LP. In an interview with Los Angeles Times, she spoke on the song’s evocative nature. “The title lends itself to a visual of shadows of men passing by, this girl’s eyes, her face,” Del Rey said. “I can definitely see things.”

Del Rey put out Honeymoon earlier this month and, prior to its release, recently premiered another song, “Salvatore,” via BBC 1. “[It’s] the most different from all the other tracks on the record,” she said at the time. “It has a little bit of an old world Italian feel, it’s kind of a weirder song, but I love the chorus.”

Del Rey has compared the album as a whole to her first two releases, Born to Die and Paradise. “It’s growing into something I really like,” she said of Honeymoon in an interview with Billboard in January. “I’m kind of enjoying sinking into this more noirish feel for this one. It’s been good.”

If you’ve ever called up one of those numbers you see in a movie or on an album sleeve, the likelihood is you will be put through to an automated line or the number won’t exist. The chances of you speaking to anyone actually interesting are very, very slim.

Lana Del Rey’s doing things a little different. On her latest release,Honeymoon, she included a phone number on the cover: 1-800-268-7886. Surprisingly, if you call the number, it goes straight to Lana .

New album Honeymoon out now,

Lana Del Rey has finally premiered the official music video for track “Freak” from her last studio album titled “Honeymoon”. The music video is 11 minutes long and has nothing to ‘freak’ about but everything to be happy about.

“Freak” music video features Father John Misty who plays Lana Del Rey’s lover. Lana shared a short clip from the video on Twitter before premiering the full video yesterday through VEVO in the USA which created a lot of hype. As soon as the music video premiered through VEVO, it got thousands of hits within minutes.

The music video is about Lana Del Rey and Father John Misty’s romantic day off in countryside. They relax near a cliff and show their affection for each other. Lana, who is definitely very passionate about her man, drugs him and makes his sexual fantasies come true. Father John Misty sees himself surrounded by beautiful girls who seem to be there only to make him happy. Then Lana takes the drug too and joins her man in his fantasies. She, along with the other girls, starts loving Father John Misty. Towards the end of the video, they all dive in water together after Lana poured a red drink all over her body trying to seduce her man.

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LANA DEL REY – ” Honeymoon “

Posted: September 18, 2015 in MUSIC
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A honeymoon with Lana Del Rey is more sticky than sweet: Get ready to enter a world of truly tortured romance, complete with enough bitterness, lust and violence for a one-woman revival . If the pop star’s guitar-laced 2014 LP, “Ultraviolence”, was a one-night stand with a new sound, her follow-up is the morning after — the moment when Lana Del Rey gets back to what she’s best at. The moody, cinematic string arrangements on the title track and the wistful highlight “Music to Watch Boys To” recall her 2012 debut. She goes further into pop on the supercatchy single “High by the Beach” and the excellently sultry “Freak”; the latter song’s steady bass thump and druggy abandon evoke her recent collaborator the Weeknd in particularly exciting ways.

Lana Del Rey flirts with Sixties touchstones throughout Honeymoon”, referencing Bowie’s Major Tom on “Terrence Loves You” and narrating a hippie-dream monologue about space and time on the interlude “Burnt Norton.” The biggest surprise here comes in the closing number — an unexpectedly upbeat take on Nina Simone’s classic “Don’t Let Me Be Misunderstood” that reads as a not-so-veiled shot at her critics. Whatever her intentions, they’ve led to her most genuinely thrilling music ever.

Lana Del Rey