motel void

Honor Saint Williams is a DIY, lo-fi folk project based in Hackney, East London. The name of the EP, London Metal, is a tongue-in-cheek nod to the reality of urban living where even the softest music played in your flat can prompt complaints from neighbours.

This four-track release opens with GOOD BOY, a fleeting song that lasts just under a minute and a half. It begins with a hushed, intimate vocal layered over a delicate melody. The song feels fragile, almost like a secret being shared. It recalls the more restrained and quietly emotional moments from early Elliott Smith albums. Though short, GOOD BOY is compelling in its minimalism, closing with a repeated motif and a quick fade-out that leaves you wanting more.

The second track, nyc, is paired with a brilliant and imaginative music video composed of animated sequences blended with Google Street View images. In it, a man in an “nyc” t-shirt wanders through the streets of London – browsing a newsagent, sitting at a bus stop, pausing at a crossing, or leaning against a wall. The video captures a feeling of aimless drifting, echoing the track’s hypnotic, slightly lethargic atmosphere. The slow tempo and lo-fi textures invite you into a kind of dreamy detachment, where nothing much happens and yet everything feels charged with emotion.

Third on the EP is THE IDIOT, which continues the sonic thread of the previous tracks but adds its own subtle variations. The accompanying video takes us briefly into a church. Musically, the song unfolds in a relaxed rhythm, held together by a simple guitar line and a modest, effortlessly catchy chorus. There’s something disarming about how natural it all sounds. The production remains lo-fi but never muddy; instead, it feels warm and textured. The chorus returns at the end, and by the second listen, it’s the kind of melody that lingers in your head for hours – understated but memorable.

The closing track, ANTIQUE EYES, opens on a slightly brighter note. There’s a warmth and playfulness in the tone that distinguishes it from the more introspective mood of the earlier tracks. About a minute in, a blurred electric guitar joins in, adding depth and a dreamlike atmosphere. The track slowly evolves into something richer, almost ambient, and the last minute – in terms of arrangement and production – stands out as a highlight of the whole EP. It’s subtle but immersive, a small masterclass in mood-setting.

At just around eight minutes in total, London Metal doesn’t overstay its welcome. It isn’t especially experimental in terms of sound, and its changes are subtle rather than dramatic – but that’s part of its charm. It delivers a deeply enjoyable and cohesive listening experience.

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