The Dirty Blonde new single, Goodbye: Tiny Fractures

Goodbye: Tiny Fractures is the first single from upcoming album “Sugarmilk” by Glasgow based four piece The Dirty Blonde.

With an intro that’s likely to point your expectations to a standard cheeky indie pop tune, The Dirty Blonde have pulled off an excellent bluff with their new single ‘Goodbye: Tiny Fractures’.


As soon as front man Danny Gallagher’s vocals kick in, followed by guitar melodies that switch from treble soaked sunshine, to dirty distorted fuzz. We’d be lying if we didn’t admit to taking a mental double take.

The only criticism we can really level at the single is that the band’s previous release, the free download ‘Take You Under’, has a much more accomplished sound. That’s not to completely tear apart Goodbye: Tiny Fractures’, we just love the sheer 1990s art-rock of ‘Take You Under’ and were hoping for more of the same.


The Dirty Blonde have shown they are capable of writing solid, alternative rock tunes that exercise your speakers and your ears, along with more accessible pop rock gems. It will be interesting to see which road they choose for future releases.

Goodbye:Tiny Fractures is released by The Dirty Blonde via Two States Recording.

Kapil Seshasayee – Big Black collides with Fuck Buttons

Kapil Seshasayee
Kapil Seshasayee

Occupying a space somewhere between the avant-garde and progressive alternative rock, Kapil Seshasayee is carving a name for himself in the air around him, emitting sound waves that dominate the low end and pierce the high. Kapil Seshasayee is one man, surrounding himself in a cocoon of noise that’s both exhilarating to hear and fascinating to watch.

His forthcoming Crimes EP, ponders the nature of religion and asks those who listen if they are following a tradition for ethical reasons or because they’re so desperate for a place in paradise, they’re willing to get there by any means possible.

Kapil Seshasayee - Crimes EP
Kapil Seshasayee - Crimes EP

It’s a weighty theme made even heavier by Kapil’s growling, distorted guitar backed up by intense drum loops as well as improvised percussion which brings to mind the later work of Scott Walker as well as the distinctive sound of Big Black and Fuck Buttons. It’s an intense experience that’s not to be taken lightly, but will enlighten those who decide to venture into the sonic wilderness.


From Glasgow, Kapil Seshasayee has created something more complex than the average singer songwriter. He’s supported the likes of Dead Rider, Screaming Females and Alright The Captain, and will be heading out on two UK tours before the end of the year, one supporting this EP and the following supporting his forthcoming single, Brazen.

He is one man, not many as is often assumed, making the loudest noise he can onstage and on record.

Kapil Seshasayee releases Crimes EP is released via An Automaton Records on 7th August 2015.

Pale Honey are a minimalistic rock duo from Sweden

Pale Honey are a minimalistic rock duo from Sweden
Pale Honey are a minimalistic rock duo from Sweden

Pale Honey are a minimalistic rock duo from Gothenburg, Sweden. Already likened to artists likes PJ Harvey and Sleater-Kinney for their intensity and directness, their debut single proper ‘Youth’ landed online just a few weeks ago. Bathed in a tone that conveys both nonchalance and sincerity in equal measure, the track premiered at Stereogum, who said;

“Youth comes in like a slow-moving storm; first, it’s just a drizzle, a solitary little synth line, then drums and Tuva’s low, slow vocals. But when her guitar explodes into the frenzied, nervy bolt of the chorus, she keeps her voice subdued, creating this sense of tension and control that adds an intimate, feminine layer to the song.”


Put together across three different studios in Paris, Gothenburg and Stockholm, many of the sounds were also recorded in the kitchen of producer Anders Lagerfors, who perfectly captures the group’s shifting intensity and spontaneity. Returning regularly to themes of disheartenment and melancholy, they describe the album as being, lyrically, very state-of-mind. It’s also about empowerment and, simply put, strength. The songs routinely flirt with the polite, before exploding into fits of distortion.

Tuva Lodmark (guitar / vocals) and Nelly Daltrey (drums) said the following:

“Youth started to take shape one summer that we spent locked up, sweating in our new rehearsal room. The playful guitar riff set the pace for the drums and the vibe was clear to us – the laid back sound gave the feeling of controlled coolness, which we later wanted to match the lyrics with. We recorded the song in Paris with our producer Anders Lagerfors and from there the song grew into the more wild, attitude-filled song, still keeping the simple playfulness. Being inspired by our ultimate decision – to start daring to make own music and just go for it no matter what (probably paired with the usual personal awakening that every Swedish summer brings after the cold, dark winter) the lyrics are about letting go, getting over things and just keep going with your head held up high and starting to earn your bruises.”

Violent Femmes video for ‘Love Love Love Love Love’

Violent Femmes release video for ‘Love Love Love Love Love‘, a clip animated entirely from an iPhone,


‘Love Love Love Love Love’ features on the Happy New Year EP, the first new material from Violent Femmes in 15 years, that was released on vinyl for Record Store Day 2015 (RSD15) & will receive a digital release on 2nd June.

Talk Talk’s Tim Friese-Greene produces Firefly Burning’s second album

“Bea Hankey sings like an angel on crystal meth” – Tim Friese-Greene

Innovative pop experimentalists Firefly Burning are to release their second album next March on Fathom Records. Called ‘Skeleton Hill’, the 10 track record was created in collaboration with Tim Friese-Greene (Talk Talk, Heligoland) who has returned to the producer’s chair for the first time in 13 years. After many months of intense collaboration ‘Skeleton Hill’ heralds a new phase for the band, whose heart-on-sleeve vocals and hypnotic textures have been injected with a new directness and pop sensibility.

Of the collaboration Tim Friese-Greene says “I caught Firefly Burning quite by chance when they were supporting North Sea Radio Orchestra in a church behind Denmark Street, and it was the first time in 13 years that I had felt sufficiently captivated by a band to want to go into the studio with them. They were such an unidentifiable mash-up of so many things, and yet I found it instantly made sense to me; it was in a language I instinctively understood. There was clearly some sophisticated musical thinking going on, but it never felt overly clever or technical; on the contrary, it seemed to be perfectly in tune with the natural order of things, and completely unforced.”

The influences on the record are varied. Echoes of Steve Reich mingle with the lyricism of Joni Mitchell, Bjorkian eccentricity sits next to folk-like purity and weaving a path through it all is Bea Hankey’s mesmerising voice.

Lyrics come from inside and outside the band. Soaring vocal harmonies in ‘Beloved‘ and ‘Night Ocean‘ match the meditative ecstasy of 13th century mystical Persian poet Rumi, whilst in ‘Unwritten‘ Tim Ross’s lyrics transport the listener into an unmistakably 21st century urban dystopia. Bea herself has penned several of the lyrics, adding a personal voice to songs such as ‘Pioneer‘ and ‘White Noise’. At the heart of the album is the title track which evokes a space and otherness through close vocal harmonies, pulsing guitar patterns and achingly sparse string sounds.

According to the band “we knew as soon as we started chatting with Tim that we had found someone who could help us translate the energy of our live sound into the studio. It was a no-brainer to make a record with him – we are all massive fans of his work, especially the late Talk Talk albums. Our work together started really early on in the writing process and involved loads of time hanging out in Cornwall and London going over songs again and again until we were happy. By the time we got to the studio we had a totally shared vision of what the record should sound like.”

The album (which follows their low key debut ‘Lightships’) was recorded between Nov 2012 and Summer 2013 at Mount Harry in East Sussex. Engineer Phill Brown built a studio throughout this arcadian manor house and used an array of digital and vintage analogue equipment to capture the band’s sound – ranging from Indonesian percussion and distorted guitars to strings and electronics.

Skeleton Hill is a rich collaboration between the band and Tim Friese-Greene, whose sense of adventure and refusal to be bound by genre-conventions make him the perfect partner for these restless musical souls.

Firefly Burning
are Bea Hankey (voice), Jack Ross (Guitars, percussion), James Redwood (violin, mandolin), John Barber (piano, gamelan, synths), Sam Glazer (cello).

Skeleton Hill’ by Firefly Burning is scheduled for release on CD and MP3 download from 9 March 2015 on Fathom Records.