Honey Lungbutter

"[Honey] is a relentlessly adventurous piece of work, thrilling in its ambition. It shifts shape constantly over the course of its eleven tracks, but the basic foundation is Kaity Zozula’s growling discordant guitar, too heavy to be grungy but too keenly aware of its capacity for melody to be metal. Brooks takes the same approach to their vocals, half sung, half shouted, somewhere in between sharp sloganeering and stream of consciousness. Behind it all, Joni Sadler provides gleefully off-kilter percussion, pummelling the drums in a manner that almost sounds like a response to the sonic chaos unfolding around her." – Loud & Quiet

"'I like choosing things,' Ky Brooks declares repeatedly throughout the first single off Lungbutter’s upcoming debut album, 'Honey.' It’s a sarcastic refrain, like the introductory monologue to 'Trainspotting,' and while it’s delivered over a guitar tone that hearkens back to the early days of Sonic Youth, it carries more menace than its Gen-X ancestors. Lungbutter weighs down their noise rock with the sense that time is running out, that they could be cut off at any second. There’s more at stake this time than being phony." – Vulture

"Zozula concocts these anti-riffs that approach no wave one minute and doom the next, while Sadler patiently punctuates the ideas with tension and relief as Brooks’s recitative vocals float over the dissonant chaos in a state of free association hypnosis." – Bandcamp Daily (interview feature)

"On the last episode of the podcast I mentioned something about how 'RIYL' tags can be dangerous when they evoke your favorite bands and then the music falls short. The following day after that episode was recorded, I was introduced to Montreal’s Lungbutter, a band whose press release included a 'RIYL' of Melvins, Magik Markers, Flipper, and more that immediately piqued my interest. That combination of influences paints a very specific sound in my mind and Lungbutter are very much up for the task on 'Honey', their new album due out later this month on Constellation Records. The band’s brand of art-punk is brilliantly dismal and sparse without much in the way of melodies. “Intrinsic,” the second single from the record is minimal and repetitive, the slow dirge of detuned guitars and near-spoken vocals mesmerizing in their simplicity and their brash resolve. It’s not the band’s most explosive song, but it does eventually roar into full atonal meltdown. There’s a lot of tension at play here and I like to believe Lungbutter would make any of those “RIYL” bands proud." – Post-Trash

"A squalling, slanted, angular, gritty, snarling bastard of a record... Stuttering, jarring guitars that buzz like swarms of furious hornets create crashing discord against calamitous bass and crashing percussion that can’t even pretend to be jazz: it’s wayward, deranged, demented, arrhythmic and difficult, and all better for it. The vocal is more spoken word than singing, the lyrics narrative rather than overtly lyrical. Rhymes are even further out of the window than melodies, and everything about Honey is challenging and confrontational and rejects all notions of musicality and accessibility – which means it’s bloody great." – Aural Aggravation

"Some utterly delicious detuned guitar tones and spoken word groove of lead single "Flat White" appealed instantly. A slice of American alternative taking me right back to the 90s with a delightful mixture of Sleater Kinney and early period Sonic Youth, coupled with beat poet lyricism. The Montreal trio take that sound and reinvent it to something modern and thrilling. Utterly refreshing in a world of over produced cringe-worthy auto-tuned vocals. Lungbutter serve up primitive and thrilling sounds...It’s a mighty fine debut." – Blank Slate

"A genre-bending gem… A relentless and twisted deconstruction of cerebral experimental noise that breaks boundaries, flirts with punk and sludge, but with this thrilling tension that reminds us of acts like Sonic Youth, Sleater-Kinney, The Melvins. Honey is one of the exhilarating and brilliant albums of 2019." – Music & Riots