Pollyfromthedirt’s masked persona and jagged pop sound bring a raw edge to the landscape of contemporary underground music. His debut EP, released independently this week, merges elements of suburban bleakness, English nationalism, and jilted romance, set against a backdrop of DIY drum machines and acoustic guitar. The County Durham native’s sound is as rough around the edges as it is distinct, with brass band samples, shuddering Midi strings, and unpolished production blending to create a unique atmosphere. There’s a trace of Elliott Smith in his melancholic, grey-skied songwriting, yet his style is unmistakably his own, crafted through crude drum machines, pitched-up vocals, and homespun production.
One of the standout tracks on the EP, Kalm, pushes the boundaries of traditional song structure, merging ambient soundscapes and delay-drenched effects into an atmospheric piece that is both haunting and hypnotic. Pollyfromthedirt, who prefers to remain anonymous and often performs masked, channels a vibe reminiscent of Dean Blunt, both in sound and concept. His closest peers in the UK underground scene may include Worldpeace DMT, Westside Cowboy, and Aya, but it’s his witty and sharply observational lyrics that cut through the noise.
A Sharp Critique of Modern England
Pollyfromthedirt’s newest track, There’s No Such Thing as England, subtly critiques the UK’s rise in right-wing nationalism, using it as a metaphor for fractured relationships and suburban disillusionment: “There’s no such thing as England / There’s no such thing as us to me.” In a similar vein, A Weekend in Majorca transforms feelings of societal alienation into a kitschy holiday anthem: “I’m a lover, I’m a brawler / For a weekend in Majorca.”
His lyrics, which evoke cold nights, broken-down cars, strange neighbours, and the escapism of teenage years, feel like an exploration of nostalgia through the lens of a new reality. Pollyfromthedirt’s music is an attempt to reconfigure the frayed edges of memory, offering a fresh perspective on familiar emotions.
This Week’s Best New Tracks
Hen Ogledd – Scales Will Fall
UK psych-pop group Hen Ogledd deliver an invigorating anthem, featuring a rap from Dawn Bothwell that decries the country’s political leadership, followed by a rousing chorus and a chaotic trumpet freakout. A bracing listen.
BBT
Fine – Moment
Danish artist Fine delivers a slowcore ballad with a Mazzy Star-esque vibe. Her melancholy lyrics and poised delivery capture the feeling of waiting for someone to catch up emotionally.
LS
Tems – What You Need
Nigerian star Tems brings her stunning vocal timbre to the forefront in this ballad, where she reflects on the futility of a broken relationship: “Your love is like an endless sea: it won’t lead me anywhere.”
BBT
Lucinda Williams ft. Norah Jones – We’ve Come Too Far to Turn Around
Two powerhouse singers join forces in this Americana track, melding stately piano and Hammond organ to sing about straying from the path and finding redemption.
LS
Converge – Love is Not Enough
Metalcore pioneers Converge return with a fierce track that advocates for a combative stance in dealing with societal ills, while still embracing self-reflection: “We must grow to stomach the taste of our own blood.”
BBT
Haley Heynderickx and Max García Conover – To Each Their Dot
A folksy lament that tempers rage with introspection, this track questions humanity’s misguided actions through lyrical wit: “And if I look at you and your rage as testicular / Humanity’s best interest is circular.”
LS
Svalbard – If We Could Still Be Saved
Bristol metalcore band Svalbard’s final track is an epic farewell, encapsulating their journey with ferocity and emotion. Frontwoman Serena Cherry likens it to the metal version of Goodbye by the Spice Girls.
BBT