Posts Tagged ‘Katie Monks’

Image may contain: 1 person, text

In the short time since they released their acclaimed debut record, ‘Sore,’ Dilly Dally toured the world and took the press by storm, only to nearly collapse under the weight of their own success and call it quits forever. Rising from the ashes with more power and conviction than ever before, the Toronto rockers’ new album is, appropriately enough, titled ‘Heaven,’ and it’s a fierce, fiery ode to optimism, a distortion-soaked battle cry for hope and beauty in a world of darkness and doubt. Frontwoman Katie Monks describes the songs as coping mechanisms, and the collection does indeed form something of a survival kit for hard times, but even more than that, it’s a declaration of faith in the power of music and a burning reminder that we need not wait until the afterlife for things to get better.

 Recorded with producer Rob Schnapf (Elliott Smith, Beck), ‘Heaven’ highlights Dilly Dally’s rough edges in all their ragged glory, drawing every potent ounce of energy from the foursome’s swampy tones, raspy vocals, and volatile rhythm section. While the music is undeniably ferocious, there’s uplift woven into the fabric of every track. ‘Heaven’ opens with the dreamy “I Feel Free,” which begins as a floating, untethered soundscape before transforming into a soaring anthem for a world that’s ready to finally turn the page on all the darkness and disillusion the last few years have wrought.

The inexorable “Believe” insists on self-confidence, while the driving “Sober Motel” celebrates the lucidity a clear mind, and the lilting “Sorry Ur Mad” makes a case for releasing yourself from the prisons of anger and resentment. Escape is a frequent goal—from the bruising “Marijuana” to the epic queer tragedy of “Bad Biology”—but it ultimately solves very little, at least in any permanent way, and so the album carves out its own atheistic religion to get through the day, a faith that validates our pain as real but responds with a beaming light of hope (and maybe a little bit of weed).

Monks and guitarist Liz Ball originally formed the band in high school after bonding over a shared love for explosive, grungy rock and roll. By the time they recorded their debut, the pair had fleshed out the lineup with bassist Jimmy Tony and drummer Benjamin Reinhartz and hit a blistering stride that floored critics on both sides of the Atlantic. Rolling Stone hailed ‘Sore’ as a “blazing” breakout that “sounds like an unleashed id with a sick distortion pedal,” while Fader said it “hits that ever-elusive sweetspot between total recklessness and sly control,” and Pitchfork raved that the record “oozes with female desire” and offers up “a heavy swagger redolent of some of the best ever alt-rock.” In the UK, The Guardian praised the band’s “bludgeoning bass, gnarly guitars and red-raw vocals,” and The Line Of Best Fit dubbed it “a seminal first album.” The music earned Dilly Dally dates with Grouplove, METZ, and Fat White Family in addition to their first-ever international headline tour and festival appearances from Osheaga to Field Day.

“Doom” from Dilly Dally’s new album ‘Heaven’ out now!


It’s been a tempestuous times for Dilly Dally since the release of their critically acclaimed debut album ‘Sore.’ It appears that the pressure environment of life on the road, the cycle of relentless promo and touring took a toll on the band’s mental well being to such an extent that they almost called it quits.

They took time out to deal with their own individual needs, find some much-needed headspace and when they the felt ready regrouped and made a decision – ‘fuck this, let’s do our thing.’ The result is their second album, the appropriately named ‘Heaven’ which guitarist and singer Katie Monks has described as “the album we’d make if the band died and went to heaven,”. The lead track ‘I Feel Free’ demonstrates that Monks’ trademark razorwire nettle sting roar remains as impassioned and potent as ever whilst her bandmates have reignited that raging fire that made their debut such a thrilling listen.

The wonderfully poignant cinematic accompanying video, written and directed by Monks herself, sees her literally digging her bandmates (and a rather sexy flying V) from the grave in an attempt to bring them back to life. It acts as a curiously moving metaphor for the recent turbulent times the band have endured as Monks desperately tries to revive them, pleading with them as if to say – let’s not kill this, let’s fight for each, the band, and what we’ve created between us.  It’s a stunning return from Dilly Dally who have always managed to mix rage with vulnerability to produce some wonderfully real visceral music and ‘I Feel Free’ just might be the Toronto four piece’s most succinctly powerful moment yet.

“I Feel Free” from Dilly Dally’s new album ‘Heaven’ out September 14th, 2018.

Dilly Dally’s debut LP “Sore” was released on 10/09 via Buzz and our buds at Partisan Records!From their debut album “Sore” comes the lead single “Desire” via Buzz Records and Partisan Records.

This blunt-force grunge album from Toronto’s Dilly Dally is more than a 90s throw-back. In fact, it strips the plastic wrap off of everything trendy about the 90s revival and reminds you what made grunge rock so good in the first place, and that’s pure, unadulterated angst. Even the screeching feedback that kicks off the record is no match for the fiery, deep-seated roar of new-comer Katie Monks: Her apathy is boiling and she’s a kettle to the mic. But it’s not just the sound of Monks’ voice or the piercing guitars that make Sore feel so raw. The lyrics grate at Monks’ vexed desires with verses like “I miss you, the ballin’ chain.” Every song on Dilly Dally’s powerful debut—starting with the explosive lead single “Desire” to the aforementioned “Ballin Chain”—scrapes against loving what might kill you in the end.


Listen to the lead single “Desire” right now.

Dilly Dally performing live in the KEXP studio. Recorded October 28, 2015.

The word “aggressive” came up a lot when Dilly Dally’s breakout debut, Sore, came out last fall.

“Yeah, but we’re aggressive about a lot of very positive ideas,” clarifies singer/guitarist Katie Monks. “Everyone in the band has their own reasons as to why we gravitated toward heavier music or ‘aggressive music.’ I really like epic, exciting things. I like exciting video games that are violent, and I like movies with explosions and dragons and aliens, and I like hanging out with people who are weird and cool, and I like to eat lots of hot sauce. So, when I listen to music or go see a live show, specifically, I want to be engaged. I want something to move around to…to push people around to…and something that isn’t just hand-claps. I want something that is an escape. It’s an escape!”

Ballin Chain
Next Gold
The Touch


Toronto’s Dilly Dally put out a fantastic LP with Sore, featuring incomparable vocals by the dusty voiced Katie Monks, who shreds tracks apart by use of her voice and blaring guitar. This is evident on songs like “The Touch,” where driving drums pummel over echoing guitar fuzz, and Katie rasps over the song’s ending with multiple “oh whoa whoa oh”s that seem too natural for someone who sounds like they’re ripping their voice apart. “Witch Man” has Monks singing interesting melodics and breaking into a haunting howl that works all too well. This entire album is meticulously planned out and tastefully composed, loud and thunderous.

Dilly Dally sore

Dilly Dally Sore

Sore, is the debut record from Toronto’s Dilly Dally is a dark and fragile post-punk album that deeply concerns itself with gender dynamics and sexual expression. Despite clear feminist underpinnings, all these girls had in mind at the time was making rock music that reflected their experience. “We were really just trying to make a rock album,” lead singer Katie Monks told me in an interview earlier this year. Then her fellow founding member Liz Ball quickly followed that up: “[Sore] is obviously resonating really deeply for both sexes. Which is the goal, and which is quite feminist I guess.” Whatever the intention, the result is clear: Sore is a combustible, seething collection of honey-sweet, venomous rock songs that achieved all the goals Monks and Ball might have had and more. Dilly Dally burned their way to the top, pegging themselves as one of this year’s most exciting bands to watch, and establishing Toronto’s burgeoning rock scene in the process


The Toronto four-piece’s blazing full-length debut, Sore, has earned rave reviews, and their live show turned heads at this year’s CMJ festival. “It feels more natural for me to be onstage than it feels anywhere else in my life — it’s like the opposite of stage fright,” says singer-guitarist Katie Monks, who founded Dilly Dally with guitarist Liz Ball, her best friend from high school. “It’s like an alternate life where you can speak a language that’s a lot more free.” Along with powerful originals like “Snake Head” and “The Touch,” their recent sets have included a memorably surly cover of Drake’s “Know Yourself.” “Nobody here calls Toronto ‘the 6’ at all,” Monks notes. “So there’s a layer of sarcasm to the cover. But it’s still a fucking awesome song! Drake is so honest about being lame that it’s endearing.”

They Say: Monks says her vocal cords are doing just fine, thank you, despite some concern-trolling she’s encountered lately. “I resent the people who wrote about the record, like, ‘Let’s see how her voice holds up on tour,'” she says. “I’m like, what the hell?! I’ve been playing shows for six years. I just do my half-assed vocal warm-up of singing Sinead O’Connor before we go onstage, and that’s it, really.”

“Purple Rage” finds post-breakup liberation in a rowdy mosh pit. “This relationship I was in fizzled out, and I was left with these negative feelings that I wasn’t good enough,” Monks says. “That song is me fantasizing about a new life and a new Katie.


DILLY DALLY – ” Desire “

Posted: October 22, 2015 in MUSIC
Tags: , ,

It’s kind of great, isn’t it, when you encounter a band that is new (to you) yet brings with it a sound and aesthetic that slots perfectly, filling some kind of void you never quite realised was actually there. Dilly Dally are here

Sore’s a good word to describe how you might feel after spinning through Dilly Dally’s debut album of the same name. Katie Monks’ scratchy, full-blooded howl will reel you in, and their whip-smart lyrics and pulverizing intensity will keep you coming back time and time again for another cathartic fix. Their loud, brash, toweringly epic style of rock feels is a front for the more vulnerable feelings underneath, and that only adds to their might

Of course, Dilly Dally aren’t new in the freshly-hatched-into-the-world-of-music sense. Their biography tells of founders Katie Monks and Liz Ball’s long musical connection, of six years ‘drenched in the Toronto music scene’, of ‘working shit jobs, being in debt, partying too much and hustling in a band’. By new I mean in the sense that their debut album, Sore, has just been released, and that their music is just starting to be more widely heard and appreciated.

But if said music sounds fresh it also sounds like it ought always to have been around. The album opens with a blur of fuzzed guitar and then a brilliantly roared count in, “one… two… three… four…”, in Monks’ already-shredded, raw and grainy voice. After that guitars crash, but lighter harmonies also surface, while the lyrics – deliberately sketchy, semi-audible, making the listener strain to understand, work at it, work it out – arrive with a delivery that is at once guttural, poetic (“mercuries are falling from her eyes again”) and sensual, the catches in the vocal a match for the buzz of the frenetic instrumentation. It’s quite a start, an invigorating and deeply authentic invocation of the song’s title: ‘Desire’, served up in an impressionistic but never euphemistic or coy way.

These are songs about lust and life, about feelings and experiences, but told in such a way that they sound box-fresh. There’s anger, cathartically expressed on the likes of the terrific, bracing ‘Purple Rage’ and ‘Snake Head’ (someone or something accused of “fucking with my shit” gets very short shrift), there’s loads of sex: from the opener’s furious lust to The Touch with its panting and yowling. ‘Next Gold’ tells of “making love in the parlour” while, in ‘Green’, Monkswants you naked in my kitchen making me breakfast”, which seems like a fair enough demand tbh.

One of several highlights is ‘Snake Head’, a herky-jerky period piece (sorry) that anyone who has ever menstruated will relate to in spades. When Monks sing/screams that “snakes are coming out of my head / And there’s blood between my legs”, or matter-of-factly bemoans the fact that “these painkillers are no fun” it makes you wonder where all the other funny-and-furious, real and raw songs of women’s everyday experiences are, so apposite and essential does it sound.

Also wonderful are ‘Next Gold’ – a song of contrasts, the guitar sounds switching from indie-jangle to MBV-alike shred, the vocals from high harmonious “oohs” to gruff growls – and the exhilarating, bracing ‘Purple Rage’ that follows. This great sequence, more or less in the album’s centre, continues with ‘Get To You’, slightly slower of pace and quieter of voice, downbeat and utterly compelling.

This is a band that clearly relish this type of switch, not only with their mid song loud/quiet changeovers à la Pixies (Witch Man, Ice Cream), but also by throwing in curveballs that change the album’s internal trajectory. It’s one such moment that closes the album, piano ballad (yes, really) ‘Burned By the Cold’: sincere, utterly lacking in guitar noise, its intensity conveyed this time solely by the raspy vocal. That it makes no less of an impact than the fantastic confections of noise and thunder that precede it only goes to demonstrate the nous behind the fury, the musical smarts governing the debut of this terrific new band. Dilly Dally, where the hell have you been? We’ve been waiting for you.



When I hear a couple of tunes from a band like Toronto’s Dilly Dally and I am reminded of a time when I might not have been cool, but at least my body didn’t hurt as much.
Dilly Dally is a sonic blast, heavily influenced by all things Deal. Here’s a little snippet from lead singer Katie Monks, “Sore is an album about rebirth,” she says, “hence its disgusting guitar tones and constant moaning. What can I say, happiness is a struggle, but the last thing I’d ever want you or anyone else to do is give up that fight.”
Sore will be released on October 9th via the fine folks at Partisan Records. In the meantime, enjoy a couple of tracks below at a very loud volume



The first thing you’ll notice about Dilly Dally is Katie Monk’s voice. Every word, every note is a battle to escape. Singing sounds excruciating, forcing all of the air out of her body in a violent trial by fire . Even when she takes a step back, she’s filled with an acerbic knowing: “She’s a really good friend,” Monks throws out in a casual aside before descending into another firing line of howls. She’s backed by murky grunge, a carefully constructed tidal wave of sound that ebbs and flows with her vocals. The Toronto four-piece has been taking things slow and methodically, just like their music — they’ve been around since 2009, but have only released some sound each one more precise than the last.