Dark and abrasive yet melodic, LoneLady could have only come from Manchester, England. Originally the project of LoneLady, her guitar, drum machine, and four-track recorder, her music draws inspiration from the expected post-punk greats (Wire, the Fall, ESG) to more recent, quirkier influences (Peaches, Bill Callahan). The tracks on LoneLady’s MySpace page — which are all downloadable — range from rough-around-the-edges experimental art-punk to brooding, driving almost-pop.

“Marble”’s shimmering guitars and keys are the perfect foil to LoneLady’s pure-yet-gritty voice, which recalls Lion and the Cobra-era Sinead O’Connor — if she’d recorded in her bedroom instead of a state-of-the-art ’80s studio; “Intuition”’s relentlessly angular guitars and restless rhythms trace their lineage from Pylon to Erase Errata. However, LoneLady goes beyond reviving post-punk: The wide-open spaces and haunting violins on “Fear No More” add dark folk to the mix, while “Hotel LL,” with its spoken-word verses and tribal percussion, is LoneLady at her most primal and lo-fi.

LoneLady inaugurated the Too Pure Singles Club last month with “Early the Haste Comes”/”Joy,” which was released as a 500-copy limited edition and recorded with Future of the Left’s Richard Jackson. Though the band’s home is the Manchester imprint Filthy Home, it’s easy to hear why they’re friends with Too Pure as well: LoneLady’s powerful vocals and spare but artful approach make the band kin with Too Pure favorites such as Electrelane and PJ Harvey. The Singles Club recordings were LoneLady’s first as a trio — the band is growing, and so, hopefully, will its fans. Read more about LoneLady in this interview with Plan B Magazine.