Robyn is finally gearing up to release her song Honey after premiering an earlier version of the track on HBO's Girls 18 months ago. She filmed a music video for the track today, so expect to hear things in the near(ish) future.
SauceThe New York Times wrote:
IN THE END, Robyn couldn’t have called the new album anything but “Honey.” You may have heard the name of that song as early as 2017, when it underscored a scene on “Girls.” The show’s creator and star, Ms. Dunham, had reached out to see if Robyn would contribute music to the final season; Robyn sent her options, and an early, busier, techno-ier version of “Honey” was the winner. Fans seized on the song immediately and started demanding that Robyn finish it: Variations on #ReleaseHoneyDammit became a running online plea and gag.
Robyn saw the messages. But she was far from done with “Honey.” The track became a white whale for her: She just couldn’t put it down.
Though she’s written many songs that stand at the crossroads of pop and club music, Robyn knew where she wanted “Honey” to be planted. “It’s not produced or written as a normal pop song,” she said. “It is totally based on this idea of club music.” Both genres come with their own mode of listening, she argued. “When you’re listening to club music, there’s no reward,” she said. “The reward isn’t, ‘Oh, here’s the chorus, here’s the lyric that makes sense.’ You have to enjoy what it is. You have to enjoy that there’s no conclusion.”
“Club music taught me so much about myself,” she added. “Having patience, or appreciating a different type of way of taking in life. That to me is like, what ‘Off the Wall’ is. Or ‘I Feel Love’ or ‘Rock Your Baby’ with George McCrae.” (She later added Kate Bush’s “Running Up That Hill” to the list.) “It’s a hypnotic thing. Time stops, and I don’t even think about where I am when I hear music like that. That’s the high that I want,” she said, and laughed heartily. “That’s what I need.”
Robyn worked on “Honey” longer than any other song she’s ever written and “really drove Joseph and Klas crazy,” she said.
Mr. Mount compared it to the endless making of the Beatles’ “Maxwell’s Silver Hammer.” But “It felt like the linchpin of the whole thing,” he added.
She had played me the song in March, and she blasted it at the Robyn dance party following her Q. and A. in New York in May. But this was August: “Honey” had evolved.
Robyn hurried into her home studio (pink floor, mirrored wall, snapshot of herself and Danny DeVito at Coachella over the desk), then dashed off into another room and returned, ripping the packaging off a brand-new pair of headphones. She bent over a pair of digital turntables, her eyes closed, adjusting knobs and dancing in place. She played a Michael Jackson remix, and “Purple Music,” an unreleased Prince song from 1982. “What’s a better way to spend a Saturday?” she asked.
When it was time for “Honey,” she turned the volume up even higher and fiddled at the mixer for a bit, then sat down on a gold chair.
The song’s woozy cocoon enveloped us, its heartbeat thumping in our hair, our nails, our feet. Sounds strutted across the room, some joining the blend, some ghosting as quickly as they arrived. “No, you’re not gonna get what you need,” her voice sang from the speakers. “But baby, I have what you want. Come get your honey.” It was overwhelming, gauzy and beautiful.
It was its own reward.
You can use the radio edit then.heppolo wrote:too long, 4 minutes would have been enough
Completely deserved.BEST NEW TRACK
Before its proper release today, “Honey” was a thing of legend—long-rumored and wondered-about after an early version of the track closed an episode of “Girls” a year and a half ago. That tease, and others, ignited the imaginations of Robyn’s fans, an unusually benevolent clique who are nonetheless used to hearing what they want to hear right **** now: Soon enough, #ReleaseHoneyDammit became a slogan to rally around. But Robyn does not capitulate. She knows what she needs to do, and works on her time and no one else’s. It’s right there in this song’s opening lines: “No, you’re not gonna get what you need/But baby, I have what you want.”
So this “Honey” is not the same one from “Girls,” not quite. There’s more air, more room for her voice to echo and decay into the void. It’s still a Robyn Banger—a souped-up distillation of classic house’s bittersweet throb and wail—but its sights are set both further and deeper; instead of a perfect snapshot of a single tear on the dancefloor, “Honey” unfurls like a sweeping vista of desire. There is an undeniable lust here, powerful in its maturity. The Ohio Players and Mariah Carey have schooled us on the sexiness of honey, and metaphysical lines here about a flower “stuck in little strings of saliva” make you wonder what’s happening just outside of the frame on Robyn’s new album cover. “Honey” is also about the primal pleasure of music, of a bass-kick heartbeat that sounds like it’ll never stop. Robyn once again offers us immortality, at least for a few minutes.
Pitchfork has been stanning Robyn since forever. No surprise there. Even if it wasn't BNT they would still give her a good review.jszmiles wrote:wow, good to see a positive review on Pitchfork. Didn't expect them to like it.