The Long Blondes
Live @ Oxford Zodiac
October 15, 2006
Interview & Photography: Steve Bateman

Like many great bands, before The Long Blondes even play a single note of music together, or step out on to a stage into the bright lights, they are first and foremost, the very best of friends – Kate Jackson (vocals), Dorian Cox (guitar), Emma Chaplin (keyboards / guitar), Reenie Hollis (bass) and Screech (drums), with the latter pairings both being couples.

The band’s Press Release breathlessly reads, “The next chapter of Sheffield's idiosyncratic musical heritage: they combine the suburban disco fantasies of the Human League, the opulent ridiculousness of ABC and the seedy glamour of Pulp. Like The Slits playing Roxy Music, or Donna Summer reciting the collected works of Harold Pinter, The Long Blondes are truly becoming auteurs of the perfect left-field pop song.”

Adding further magic to the origins of their relationship, is the story of how they would all come to meet – which in itself, is worthy of being placed amongst the very best rock ‘n’ roll fables. As legend would have it, the band met in February 2003 at Sheffield University Library (where Dorian, Emma and Reenie were working at the time), after responding to an advert placed in the window of a local newsagent.


Unusually, no member had been in a band prior to The Long Blondes, and between them, they couldn’t even play a single instrument – which makes this, their tale, even more special and romantic! Now however, not only are they a proper, intelligent and sophisticated British Indie Pop band, but they look like a classic one too! Their chic style – once described as “Glamorous Punk” – certainly hasn’t gone unnoticed, and their unique mixture of Topshop, vintage, market and charity shop clothing, is fast becoming a staple amongst their ever-growing fanbase. Kate has even appeared on the pages of Vogue and The Guardian, and was named in this year’s NME Cool List – so is now very much thought of as a modern-day style icon, with an exceptional voice to match!

And then there’s the band’s name, which was “inspired” by all of the great Hollywood Screen Sirens. “It’s a tribute to the glamorous ‘30s and ‘40s Film Stars, like Jean Harlow, Marlene Dietrich and Katharine Hepburn, as well as blondes like Edie Sedgwick, Faye Dunaway and Nancy Sinatra” says Kate.

Dorian has also confessed, that there’s “an unwritten rule of the band’s, that every song title must sound like either a Film Noir or a Penguin classic paperback.” He’s also “obsessed with the subversive nature of writing songs that make people dance, but that have really sad lyrics.”

Most importantly though, their music has both style and emotional depth in equal measures, and you can tell that they really mean it! They aren’t shy about admitting their debt to great Girl Groups of The ‘60s either. One reviewer rightly observed, “Rather than simply appropriating the style of their inspirations, as lesser bands would do, The Long Blondes tap into the spirit of the originals, blending the shimmering urgency of bands like The Ronettes and The Crystals, with a truly Northern punk earthiness.”And, you can easily apply the ‘Once heard, Never forgotten’ stamp of this Golden Musical Age, to The Long Blondes own songs as well, as their early 45s on Thee Sheffield Phonographic Corporation, Angular Records and Good & Evil labels, testify alone. From the magnetic New Idols, to the dancefloor hypnosis of Giddy Stratospheres, to the Hitchcock-inspired Appropriation (By Any Other Name), to the stentorian Separated By Motorways (recorded at the time, with uber-producer Paul Epworth at his request).

Long-tagged as ‘The Best Unsigned Band In The Country’. The Long Blondes closed 2005 by supporting Franz Ferdinand at Alexandra Palace, and commenced 2006 by winning the much coveted NME Philip Hall Radar Award (previously picked up by Franz Ferdinand and the Kaiser Chiefs), before waiting patiently for “the perfect record deal” to come their way. Then, on April 13, 2006 (almost 3 years to the day after their inception), they finally signed to the now legendary Rough Trade Records!

Following the Rough Trade singles, Weekend Without Makeup and Once And Never Again, the band’s rhapsodic debut album, Someone To Drive You Home, is set for release through the label on November 6, and I was lucky enough to chat to the gorgeous and very lovely Kate, midway through the band’s first Headline UK Tour to promote the LP. I later met Dorian, Emma, Reenie and Screech after the sound-check, who were equally as engaging, and, not only did the band give me a T-shirt as a gift, but they have very kindly offered to send me some of their rare early 7”s, so that I can complete my collection!In the beginning, The Long Blondes’ aim was “to form a fantasy pop group,” and now that they have achieved this, “they want to be as good as ABBA – they want to be sexy and literate – and they want to be flippant and heartbreaking all at once!”

So why not grab your finest clothes and eyeliner, and come join them for the thrilling ride…

Lucy: Your band have been quite quiet for the last few months. Are you looking forward to playing gigs again?
Katie Jane Garside: I think I give very obtuse ans

1.In a recent interview, when discussing the current state of The Music Industry, Morrissey was quoted as saying, “There aren’t many bands who are unique.” Do you agree with his comments / did you feel this way before forming The Long Blondes?
“Yeah, that was definitely one of the reasons why we formed! But, I do think that there’s more going on in music now, than there was 3 or 4 years ago. Because when we first started, there was nothing particularly in Sheffield that we were really into – apart from one band called Pink Grease, who sort of inspired us to start as well! They were the only band that me, Dorian and Emma, used to go and watch. Because we all used to DJ and we’d play records like Blondie and Roxy Music, but there were no bands like that, who we wanted to go and see. So we thought, “Well we may as well just start a band for ourselves” – the sort of band that would interest us, and the sort of thing that would entertain us, and a gig that we would actually want to go out and spend money on! But as I said, there are a lot more unique bands now, and there’s more and more coming out all of the time. Even though they’ve just had the NME cover, I do really like The Horrors, I think they’re really cool – they’ve got that Nick Cave thing going on! And the Klaxons are good as well, we’re playing with them in York next week (smiling).”

2.The Arctic Monkeys’ I Bet You Look Good On The Dancefloor, has just been voted as “The Greatest Student Anthem Of All Time” in a poll run by the NME – but which song best reminds you of your days as a student?
“Um (thinking), a student one is difficult – it’s probably easier to say one from my teenage years, which would definitely be Disco 2000 by Pulp! I used to go out to the Chicago Rock Café in Bury St. Edmonds with all of my friends, and that was the song that we had all of these dance moves to, and we’d sing to each other (smiling)! It was 1995 at the time, and 2000 just seemed like a million miles away. Because you know when you’re young, a year is such a long time, but now, it goes so quickly (laughing), it’s terrifying – I can’t believe that was actually over 10 years ago!”

3.Is it heartening for you, to think that your songs, will now become a part of the soundtrack to many peoples’ lives?

“That is like, THE BEST REASON for ever being in a band! If we can do what Pulp and Suede and Elastica did for me, when I was a teenager – if we can appeal to people and mean something to their lives like that, and become kind of a soundtrack to their growing up (pausing). A lot of our songs are aimed directly at speaking to a teenage audience I guess? Or, people who are going through the changes that come with (pausing), you go through so many different changes between the ages of 15 - 25, and we’ve just kind of been through that and come out the other side, so a lot of our songs are really aimed at those people. So yeah, totally, that’s another reason why we do it (smiling)!”

4.The Long Blondes share a genuine love of music, and certainly seem to have that ‘last-gang-in-town’ mentality. Is it fair to say that you’re all kindred spirits?
“Yeah (laughing)! I think all of the bands that we admire and love, have always looked like proper bands – they’ve always been mates who’ve just formed, because they like music, and they have that gang mentality / gang feel about them. Bands like The Smiths – they look like a gang! Pulp – they look like a gang! They obviously weren’t musicians, they just formed because they were friends from the City, and they were a little bit bored (pausing), the Arctic Monkeys – apart from kicking the bassist out (laughing)! But that was the reason that I kind of liked them, because they looked like this gang of scallies (laughing), and everybody wanted to run away and follow them! They’ve got such a young fanbase, and that’s obviously why. But, we’re just 5 friends – we weren’t musicians and we didn’t know how to play – we started because we were sick of doing these temping jobs, when we finished University. So doing the band, seemed like a really good, fun and creative option as a hobby for ourselves. We never thought that it would lead to this! So I think that’s kind of where the gang thing comes from as well, because we would have gone out and hung around together, and still dressed the same and still looked the same, even if we weren’t in a band (laughing)!”

5.Continuing with this train of thought, you used to work in a Vintage Clothes Boutique in Sheffield, and are renowned for your cool style and fashion sense. But who for you, have been some of the sharpest dressed bands and artists over the past few decades?
“Thank You (smiling)! Suede. Pulp, again (laughing) – I always talk about them in interviews, I must stop (laughing)! Um (thinking), The Strokes always look pretty good, I do like them. Yeah Yeah Yeahs look pretty good as well – but there hasn’t really been a stylish British band though, for a long time, and I think that that’s a kind of hole that we want to try and fill a little bit. If we can (laughing).”

6.As a Sheffield band, you said that you “feel a kinship with The Steel City” and in many ways, you’ve now become torchbearers for its musical future, by continuing the lineage left by great Sheffield acts in the past, such as Pulp. What was it like meeting Jarvis Cocker at the 2006 NME Awards?
“Terrifying (laughing) – he was really nice though! We went backstage afterwards, and we all had our photographs taken with the Kaiser Chiefs and The Cribs, and Jarvis was supposed to be in the middle as some kind of ‘Godfather of the Yorkshire Scene’. But, I had never spoken to him before, and I was just standing next to him, and in the photograph you can see that I’m looking up to him in awe (laughing)! I mean we still hadn’t spoken, and then afterwards, he just turned around and looked at me, and offered me a menthol cigarette (laughing). It was one of the greatest moments in my life (laughing)!”
*I say to Kate, that The Long Blondes are now labelmates with Jarvis*
“Yeah, we are (smiling)! Hopefully, we’ll get to play together before the end of the year as well. I know he’s doing a run of dates and it’s been suggested, but we don’t know for sure yet. Maybe, fingers crossed!”

7.You want to write what you call “classic pop songs,” and “at the very centre of the band, is your writing partnership with Dorian, which conjures up ambiguity in the gap between male and female perspectives." But what are your lyrical inspirations and is writing a cathartic process for you?
“Yeah, definitely, but it’s actually Dorian who writes most of the lyrics. I mean we both write, but because Dorian’s the songwriter, he sort of does both in tandem, and then he’ll bring them to the rehearsal room and I’ll scan them and do the melody and stuff. But if he doesn’t have lyrics for a song, then he’ll give me the bare bones of it, and I’ll do the structure and the lyrics. So, there’s 2 very distinct ways in which we write, but I know that his influences are kind of similar to mine anyway. Obviously there’s the musical side, which I’ve already talked about – enough (laughing)! He’s also inspired by ‘60s British Film and Books – he really loves Alfred Hitchcock films, and so do I – the song Appropriation (By Any Other Name), is directly inspired by the film Vertigo. There’s just lots of different things really. I mean there’s lots of literary references in the songs, like with my song Madame Ray, which is about a relationship between the photographer Lee Miller and Madame Ray – she was Man Ray’s assistant in Paris for a while, and they referred to her as Madame Ray. So that’s where that comes from. She’s one of my heroines, because she was a really strong woman and she seemed to lead loads of different lives – she was a model and she was very stylish, but she was also very intelligent and driven, and I greatly admire that (smiling)!”

8.Can you remember where you were, and how you felt, when you first heard one of your songs on the radio?
“Ooh (long pause + thinking). No (laughing)! I’m just trying to think? Jesus (laughing)! I think it was probably listening back to the Steve Lamacq session that we’d done – listening back to it in the van, petrified, incase any of us hit a bum note, which obviously we did you know (laughing)? So, it was more of a nerve-wracking experience than a fun one. Sometimes, when I’m in Topshop, our video will come on and that’s always a bit weird (laughing). I was with my mother in Topshop in Oxford Street, and our video came on, and she was like jumping-up-and-down and going to the woman behind the counter, “That’s my daughter – that’s her over there” (laughing)! So she gets really excited about it, but I’m more like (pausing), it’s a little bit weird and embarrassing.”

9.The Long Blondes adore films, and I remember reading a review once which said, "Their songs combine kitchen sink drama with flamboyant movie star escapism." If you could have starred in any film, which one would it have been?

“Wild At Heart by David Lynch (without any hesitation)! I want to be Lula (laughing), I mean she’s great and she gets to kiss Nicolas Cage, which is a bonus (smiling)! It’s all set in Midwest America, and they go on this road trip to Louisiana, and they meet all of these weird people along the way. I always fantasise about doing something like that (pausing), in fact, me and my boyfriend are going to drive to Nashville in November (smiling)! So yeah, I’ll say Wild At Heart, because it’s so cool and stylish (smiling)!”

10.On a similar note, if you could join any other band for just one night, who would it be?

“Does it have to be a current band?”
*I say no, that it can be any band in the history of popular music*
“Um (thinking), there’s so many that I wouldn’t mind joining for one night – it’s a really difficult question. Um (long pause + thinking) – I can’t imagine being in another band though, do you know what I mean? It’s really difficult to think where I’d fit in? I would’ve loved to have been Nancy Sinatra and sung with Lee Hazelwood, but no one could do that better than Nancy did. I suppose if I could have been in another band, or at least been a fly-on-the-wall and seen a band, I would’ve liked to have seen Guns N’ Roses (laughing)!”

11.What posters did you have on your bedroom walls as you were growing up?
“Again, Guns N’ Roses (laughing), Madonna and Led Zeppelin! Then, I tore them all down and replaced them with Suede, Pulp and Elastica – and that sort of stayed forever really (laughing)! It was listening to the first Suede album that really kind of changed everything for me, and in my opinion, that’s still one of the best debut albums ever made! But, it did go pretty shit for them towards the end – and The Tears, I just didn’t even want to hear that album, because I knew it wouldn’t be a patch on Suede.”

12.You recorded your debut album with Steve Mackey, and although his production has given your songs more of a fully formed, well-crafted pop sheen, they still retain the new wave edginess of your early recordings – was this important to you?
“Very much so, yeah, that’s exactly what we wanted to do! And Steve really understood that, because he’s obviously come from a band background, and he was in Pulp for 11 years. So he knew where we were coming from in that respect, but he’s also been like a pop producer – he did the M.I.A. record, so we knew that he’d be able to bring that high level of production to the songs, without losing any of their character. Because we didn’t want to just completely change (pausing), I mean a lot of our early recordings are quite um (pausing), basic (laughing)! We didn’t have the money or the means, we just did them all in an evening after work – most of them – in a small recording studio in Sheffield, with a guy called Alan Smythe, who’s an engineer. So that’s why they all sound (pausing), they’ve got a lot of character and people like that about us! All of those 7” singles capture exactly where we were, and what stage we were at musically at the time, and we wanted the album to reflect that you know? We want the album to show where we are now and how we’ve moved on, but also to still keep the essence of what those songs sounded like, when they were actually written and what they meant to us. Hopefully, it has done that (smiling)!”

13.Like the best bands, your b-sides are also of a consistently high standard – is this partly to reward loyal fans who buy all of your singles?

“Yeah and I think again, that that’s coming from us being music fans ourselves. Because when you buy a single, you don’t just want there to be a live version or a remix on the b-side, you want it to be a totally new song, that nobody else has heard and nobody else has got, and it’s not on the album. I think it’s important not to have b-sides on the album – although we’ve put Lust In The Movies on there, but, it HAD to be on there you know, because its become a live favourite! But, for the most part, I really, really like bands who do unique singles, like Suede did you know? Stay Together was never on any album before the Singles compilation, and it’s just such a beautiful and incredible song – the full-length version is amazing! They used to release 12”s, as well as the CDs and 7”s, which no one really does anymore, and one of the b-sides on a 12” vinyl would be a song like High Rising – which is from So Young and is just incredible! To The Birds as well, which is a b-side on The Drowners. But those songs and those formats, are exactly the kind of thing that we want to do with our b-sides. Unfortunately now, because of the way The Music Industry works, you have to release 3 separate formats, so you can never have all of the b-sides together in 1 place, which is a real shame I think, and I know people would like to have that. But, it’s just sort of a cost thing and you have to do what they tell you (laughing).”
*I mention that I heard a radio interview with the Manic Street Preachers in 2003 – where James and Nicky were discussing their b-sides compilation, Lipstick Traces, and Nicky stated, “I think it's a great British trait, because when we were asked to compile our own favourite b-sides, I thought of all my favourite American bands, and they just don't do them.”*
“Yeah, like The Strokes for example, they often only have live songs or demos of album tracks. It’s ok, but you’re kind of cheating your record buying audience if you do that. The 7” single as a format (pausing), it’s coming back a bit now, but not everyone has got a record player, so for the people who do want to go out and actually buy 7” singles, it’s worth giving them something else. It’s very fan-orientated that opinion, and that’s what we’re all about (smiling)!”

14.Judging by The Long Blondes own record sleeves, I would imagine that you’re all avid record collectors yourselves, and also appreciate their aesthetic appeal?
“Absolutely, absolutely (smiling)! And again, I don’t think there’s been a band for some years, that has really thought about the b-sides, the artwork, the video, the image, the style and the music, as one whole presentation of what the band is about, and what the idea of the band is about! It’s like giving your fans a fantasy world to escape in to, that you can only associate with The Long Blondes.”
*I say that I once read a critique of The Smiths and their music, which considered how they “created a whole world / subculture for their fans to inhabit: one populated by depressive teens, poets and cultural icons.”*
“Definitely, and Suede did it really, really well too (pausing), sorry for going on about Suede (laughing), but they did do that really, really well and so did Pulp! Pulp had this glamorous representation, or seedy glamour I guess, of what Sheffield was, which is kind of why I went to Sheffield in the first place. Because I listened to the words and had this idea of what it would be like, but, it’s not like that at all (laughing) – so we created our own fantasy world instead (laughing)!”
*I tell Kate that I really love her paintings, and also ask her how long she’s been painting for / if The Long Blondes artwork is typical of her style*
“Ahh, Thank You (smiling)! I’ve been painting forever – I did A-levels, but the paintings on our sleeves, have been developing while we’ve been doing the band really. I really love painting the 7” single covers, because I think the more you think about that as a size limitation – that you have to work within that format – then you start thinking about what works on a graphic level. But also, I really like old ‘50s film posters and pulp fiction novel covers, and that’s where a lot of my inspiration for the paintings comes from. So I’ll take images of film stars like Diana Doors and Faye Dunaway, and then I’ll paint them in the style of old film posters or book covers, but also try and remove them from that context, and put them in a more modern space. Like with the album cover, I’ve got Faye Dunaway, but she’s leaning up against a Ford Cortina, so it’s really out-of-synch (pausing), that image of her is from Bonnie And Clyde, so she would have been leaning against a 1934 Ford Fordor. But I’ve put her dramatically into the future!”
*I mention that I also really love the band’s logo, and that its retro feel, reminds me of the old Top of the Pops logo*
“Yeah, yeah (smiling)! I didn’t do that though, Matt Bolton from The Sugars designed it. It looks nice – it’s cool (smiling)!”

15.Interestingly, some music insiders believe that the importance of albums may diminish in the future, due to the increasing popularity of downloading specific songs. Do you think this is feasible?
“Um, I don’t know? I think downloading and the Internet is a really good thing, I mean it’s a very positive thing for bands, as it makes you incredibly accessible, so you can reach a much, much wider audience, than you would necessarily otherwise do. So that’s a good thing! But, it probably ruins the whole tracklisting (pausing), I mean we spent a lot of time thinking about the tracklisting, and the running order of our record, but I know that some people may only download the songs that they like, say 4 songs, and not the whole album. So yeah, it kind of defeats the object – but if they want to do that, then that’s fine. But hopefully, we’ll have enough of a fanbase that really gets us, and gets what we’re trying to do, and will want to buy the record and have it exactly as we intended it to be. I’m sure there’ll always be people who want to have that as an object, and I think we’re one of those bands that will attract that kind of fan anyway (smiling)!”

16.Siding with tangible records, what’s the one LP that everyone should own?
“Cowboy In Sweden, by Lee Hazelwood – definitely! It’s my favourite album (smiling)!”

17.When playing live, do you feel a synergy between the band and the audience?
“Sometimes, it really depends (pausing), I mean this tour has actually been amazing! 99% of the shows that we’ve played, the crowds have been so up for it and it makes a massive difference to how you feel on stage. If you see people singing the words back to you and dancing around at the front, then that makes me dance, it makes Dorian move – we all just feel so much better about the gig, if people are up for it (smiling)! You do get the odd cynical crowd I suppose, people who are just there out of curiosity, who’ve maybe seen us in the NME and say, “Let’s go and see what this bunch of poseurs have got to say for themselves.” Not everyone’s going to like it and not everyone’s going to get it, but you know, that doesn’t matter. If we play a gig, and like 2 people go away and they buy the record, then that’s great (laughing)!”
*I say to Kate that I think it will be a lot more than that*
“I’m sure it will too (laughing)… I hope so (laughing)!”

18.What would be your dream gig, if you could choose 1 headline band and 2 support acts?
“Whoa (laughing) – you keep asking me these difficult questions (laughing)! The headline band would be (pausing), I guess, um (thinking), Jesus, it’s really, really hard (laughing)! Um (long pause + thinking), headlining: Roxy Music – as they were in the late ‘70s. Us as the main support maybe (pausing), actually, I wouldn’t put us as the main support, I would probably put another band as main support (thinking), someone like the Shocking Blue. Then us, and then The 1990s – we’re on tour with them now and we just love them (gushing)! They’re my favourite band in the UK at the moment, they’re absolutely amazing!”

19.You’ve now played shows in the UK, Europe and the USA – but have there been any particularly memorable places for you?

“I loved going to New York – we played there in June this year, but we also played there in June 2005. That was like the first time we’d really kind of been away for a while, just the 5 of us together, and it was so exciting to go somewhere like New York (smiling)! None of us had ever been there before, and we really felt like we were kind of stepping in to the unknown, and we didn’t know how people were going to react to it – but we sold out every show! People knew who we were, they knew the songs and (pausing), I met my boyfriend (laughing)! So, that was a really big thing for me (smiling)! I think that was kind of the moment, where all of us just stepped up a gear with it as well, and everybody realised it WAS actually going somewhere, and we DID stand a chance of getting signed, and we were a really good band! So, everybody just started putting a 100% effort into it, whereas before, it was still kind of like, “Well, maybe I’ll go to Art School and do something else?” Reenie was thinking that maybe she’d train to be a vet – but then that was the moment I think, that kind of changed everyone’s minds and brought us all together, and made us think, “No, this is what we’re going to do with our lives (smiling)!”

20.For young musicians thinking of starting a group, what is the reality of being in an unsigned band?
“It’s loads and loads of hard work! I mean the reality is, you can’t just sit around in a practice room jamming for 4 hours, and get wasted. If you do that, you’ll never get anywhere, and that’s not the way to write songs you know? You need to be quite strict about it, and if you’ve got a space hired, that’s your money and that’s your time, and you’ve got to really, really, really practice hard, and, do as many gigs as you possibly can… whilst working (laughing), which is what we did! You know, I used to drive the van – I used to drive us up-and-down the M1 to London, and we’d get back to Sheffield at 4 in the morning, and then we’d all have to get up and go to work for 9am. So it was just like leading a double life for 2-and-a-half-years. But it’s worth it (smiling)!”

21.Dorian said that “signing to Rough Trade Records, was a fairytale ending for you all” – but what are your hopes for The Long Blondes’ future?

“More like a fairytale beginning (laughing)! Well, I really hope that the record is well-received – it’s out in 2 weeks time, so it’s quite a nerve-wracking period for us. Because we’ve obviously poured our hearts and souls into doing this for the last 3-and-a-half years, and now it’s like judgement time! We have to wait and see what people think of it, but I really hope that it’s well-received and then next year, we’ll be touring a lot more, and hopefully, maybe doing like a big support tour, and then our own tour again. Starting the second album. Hopefully going to the States, Japan, Australia – just all those things you know? But, I hope we can have a crossover effect to the mainstream, to reach a wider audience. I mean we’ve never made a secret of the fact that we want to be a big band, we want to just be the 5 of us, but be as big as we possibly can – we’re not going to change in anyway, but hopefully people will like it! There aren’t enough bands who have total control over everything that they do, and Rough Trade’s really good for that – but most of the bands that do, are on Rough Trade (laughing), do you know what I mean? So if we can have that mainstream success, and still retain the essence of what The Long Blondes is, then that will be our highest ambition (smiling)!”

22.Lastly, chips or cream buns?

“Cream buns (without any hesitation)!”
*I remark that most girls usually go for cream buns*
“Really (smiling)? It’s terrible to be such a clichéd girl (laughing)!”

A very special thanks to Kate, Dorian, Emma, Reenie and Screech, to The Long Blondes’ Tour Manager Nik, and to Becky @ Darling Department, for all of their time and help.

You don’t have to say you love me just because you can
You don’t have to stay forever, I’ve got other things to do
Dine out on it or keep it to yourself, just remember: try everything once

PS Since this interview was carried out, The Long Blondes have sadly had to call it a day due to Dorian's illness. We wish them all the best in their future projects and would direct readers to the newly released singles collection whose artwork includes a picture of the band playing an early R*E*P*E*A*T gig at Cambridge's Portland Arms.

wers to questions...It's never about looking forward to it. Actually maybe I should change the
script, maybe we are looeir musicm the 3rd album?