BITCH FALCON are a name you will not forget, and a band who will not let you forget them. Today, the acclaimed trio stream their stunning new single ‘Gaslight’, and announce signing to Small Pond Records (Clt Drp, Wild Cat Strike).
BITCH FALCON showcase their return with the new track in typical fine form. Slightly grungy, slightly dreamy, the rockers have made great waves over the last few years, with acclaim from Dublin Inquirer, Irish Times, The Guardian, Paste Magazine. The trio have played with Girl Band, Fontaines DC, Torche, Black Peaks, Pussy Riot and display touches of St Vincent, 2:54, My Bloody Valentine, The Pixies and Bjork all in one scintillating package.
BITCH FALCON were formed by frontwoman Lizzie Fitzpatrick in Dublin in 2014, and are mainstays of the festival circuit in both Ireland and abroad (packing out rooms in the US, Canada and Europe). Since these freshman days, the lineup has galvanised around the rhythm section of Barry O’Sullivan on Bass and Nigel Kenny on Drums.
From the early days of their first single, ‘Wolfstooth’ to their most recent release ‘Damp Breath’, an evolution in sound can be heard as the group perfect and refine their raw, fuzz-laced offerings over six singles and one EP.
There is nothing conventional about BITCH FALCON and rather than replicate the music they love, they have managed to effortlessly create something that is truly their own from these diverse influences. Their recorded history however, is only a small part of their story. The band quickly developed a buzz in Dublin, selling out their own gigs without having released any recorded music. Their live show must be seen to get a true appreciation for what this band can do. From the high pitched wails and infinite feedback of Lizzie‘s guitar and soaring vocals from the front to the back, to the interplay between the glass-shattering bass and thunderous drums, there is very little of the stage left untouched and still bolted down once they are finished.
In the words of the band: “Gaslight’ is a song that came together quite fast. Barry started playing his riff and I played along messing rhythmically, just making noise. It sounded so weird and intense so quickly. I remember us all looking at each other and saying this is the one. I think this song was a change in our writing together. We knew we wanted a heavy sound with melodic intricacies.
I recorded the vocal layering at home, building up chords with my voice. When we recorded it in studio I wasn’t able to sustain my voice for the whole section, and so me and Rían (Trench) decided to record it in a wave, one note resting while the other picks up, so it sounds like a living, breathing thing.
I wanted to describe the feeling of what you see is not necessarily what you get. The holy grail of public display, and worth to others. Expressing yourself puts you in a vulnerable position, and I think a lot of people embellish the truth. In that way, an unachievable status is shoved down our throats, and we play into the game every day.”