We're Just Getting Started
And we're here for musicians who are just getting started too. At Early Work Records, bands at the outset of their careers can find resources, feedback, publicity, and maybe even representation -- but for now, we're helping raise awareness about all the amazing music you've never heard.
Why We Focus on Reviews
Reviews are crucial for bands and musicians early in their careers. Coverage helps increase audience awareness and provides material for bands' press kits, which can be used to garner attention from labels and booking agents at venues. Most importantly, though, reviews encourage bands to continue making music because it confirms their music is listened to, considered, and taken seriously.
Our Latest Review
Honeypuppy
“DIRTY TV"
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Sugar-blasted jangle-pop with surprising power and innovation.
At times twee and jangly, at times dark and driving, every moment on Honeypuppy’s efficient 8-song album DIRTY TV is driven by melody, energy, and joy. Each instrument shines and contributes to their winning sound. The vocals in particular spotlight how the band’s precision doesn’t temper the energy: never overwrought, these songs are accomplished in their authenticity.
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True to their heritage as an Athens, GA-based outfit, the album’s opener “Understatement” sounds like Apples in Stereo with a modest post-punk streak. While most Elephant 6ers were cuddly with their tones, Honeypuppy isn’t afraid to snarl. There’s a 90’s-ish vibe to the energy (more than the style) that reminds me of left-field Sub Pop bands like Velocity Girl. Second track “Cozy” reinforces that take: a minor key, dark lyrics, and lo-fi elements muddy the gloss, then a low-register backing vocal in the chorus summons K records originators Beat Happening. With a slowed-down and fuzzed-out bridge, Honeypuppy almost sound like prime 90s legends Vercua Salt, Belly, or most of all, That Dog.
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Prominent and melodic femme vocals aren’t the only touchpoint driving these comparisons. There’s an affinity for power pop and a willingness to experiment within the genre, nicely exemplified by the middle of the album. The title track, for example, surges beneath the weight of a fuzzy lead and palimpsestic vocal samples, so that a fist-in-the-air chorus that would otherwise soar remains defiantly grounded. It’s a bold choice to shackle a hook like this, but it’s so intentional it works. I’m reminded of Kero Kero Bonito’s “Only Acting,” where a perfect pop song sacrifices itself in deference to artful deconstruction.
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With a total runtime of just over 20 minutes, it’s hard to call this 8-song offering an album (not that it matters). Not a single track crosses 3 minutes, and most are shy of 2:30. That’s an amazing feat, in hindsight. Each song evolves and surprises at some point (sans the repetitious segue track “Wait No”). Packing such an active arc into so many tight turnarounds requires a lot of intentional bravery in the composition. Making it sound effortless is just talent.
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