I have waited over two years to be able to say that my EP is out now! 

I hope you enjoy in the sunlight, in the moonlight; alone, or with others.


This has been such a long time coming. Thank you for encouraging me.

See you for the next one.

Love forever,

P.s. be sure to pick up a handmade CD if you want a physical copy! Head over to bandcamp for more information.



Check out the video via MermaidMotel  and stream on spotify below! You can also purchase directly from me at bandcamp!


This song was such a long time coming, I first wrote it back in September 2016, we worked on it for a year and finally recorded it in February 2018!

All guitars on the track performed by Ruben Elbrond-Palmer. Recorded at Resident Studios, engineered by Caradog Jones; mastered by Pete Maher. Lyrics written and performed by Honey Gentry

New and Coming Soon!



Coming soon! You can order these super cute, super soft t-shirts on Bandcamp from about April 30! Keep an eye on the news for the super limited edition purchase! Super!


Yes, the Moonlight EP is coming to life at last! Heaven, California will be out on Friday everywhere – all official streaming/download services and all my direct artist-to-fan services (bandcamp, soundcloud and tumblr)!

But the super exciting news is, if you want to hear it before Friday, you can hear it on the RADIO! Tune in on Tuesday from midday 12PST (until 3PM) to tune into sparklemotion on KALX!! Listen online and on 90.7FM Berkeley 💞💘💖 Yep you can hear it before anyone else! And on those California radio waves baby!




And don’t forget to subscribe to MermaidMotel before Friday if you wanna see the video on release day!

Check out these snaps from the recording of the Moonlight EP


In other news here are a couple of previews that I shared on instagram recently:



U guys here on instagram are probably gonna hear this whole EP before it’s even released lol that’s ok w me cus u guys are the nicest anyway this is a bit from Honeydew, the most stripped back song on the EP. The whole EP features only guitar and vocals but often layered up. On this track it’s only one track for each (and then a little backing vocals on the chorus obvs what’s a Honey Gentry song without 100 layers of vocals lol) it didn’t feel right to put much more than that on this song. This was the first song I wrote when I realised I was moving in a new direction lyrically, from my old work, and hence why I eventually changed my name. So whilst it’s a very simple little song it means a lot to me personally. My dreams feel very very very far away and unreal sometimes, but then again, so does my past. This song connects me to both… #honeydew #music #singer #songwriter #sunflowers

A post shared by Honey Gentry (@honey.gentry) on










Don’t forget to follow my SPOTIFY profile so that you are instantly notified when the EP drops and you can stream straight away!!

On working with archive footage

With great power, comes great responsibility. 

Music certainly can survive without visual. Music predates the medium of film.

But working with film can better help convey the message of the music, can articulate quickly to your listeners, your audience, what it is you are trying to express. Through the film, the listener can step into your world, can physically inhabit your songs.

I have been working with archive footage now for almost four years.

First, as a film student.

During my studies, I was tasked with the project of creating a documentary. Documenting my crumbling personal life on film turned out to be a more successful project in self-preservation and acceptance, rather than any great artists’ statement. The film disappeared as quickly as it was made. But what I did in that documentary was begin to explore captured moments in time far beyond, and far older, than the present moment.

First, I started exploring my own archive footage.

When I was born, my dad, himself a keen photographer and videographer, documented almost every second of my life and my sister’s, from birth until the age of about five. Watching these videos back in the context of the work I was producing was difficult, but it left me with a profound perspective on home movies:

home movies document fleeting moments in history that the person behind the camera, felt were important, special, worth documenting. Children, dogs, proms, holidays, flowers, oceans, hotels, cars… this was their life, and their celluloid moments have outlived the people and memories themselves. Film was a way to live forever.

I started digging into online archives with fresh eyes. If my parents thought my childhood was so damn special, worth documenting on video, so did all the other parents documenting their children on celluloid back in the ’50s and ’60s. I started to use archive to support the narrative of  my film; that moments, families, childhoods were fleeting. But that didn’t mean they weren’t worth documenting. I used the archive footage to support my narration, my musings on family dynamics and mother-daughter relationships.

Then, when I started releasing music, it felt entirely natural to return to the hours upon hours of archive footage I had stored on my computer to craft entirely new narratives, this time supporting the music and lyrics.

I work with archive footage with great respect. With every frame I think about the families, not only in front of the camera but behind it; where are they now? How would they feel if I used their images in this way? Would they approve? I certainly try to make work that would make them proud. I try to immortalise them.