Had I been older, perhaps, or at least more rock, art-rock, or punk literate when The Jesus and Mary Chain released Honey’s Dead in 1992 I might have seen it more in the context of the gradual dilution of their sound, and the point where they started to turn away from the noise and feedback and towards the acoustic sound that would define their 1994 follow-up Stoned and Dethroned. As it was, from the opening top ten and banned from Top Of The Pops single Reverence, through the sweet melodies of Good For My Soul and Sundown and tracks like Catchfire, Tumbledown, and Far Gone And Out, propelled along by the presence of drummer Monti (borrowed from Curve), the whole piece just felt infused with an irresistible cool.