Welcome back to the Real Gone Singles Bar, the place where we explore the various individual mp3s that have landed in our inbox over the previous few weeks. This time around, we bring you a very melodic number from a sometime Ministry collaborator, a complex one man show from a British prog musician, a quick hit of country, a near flawless slice of power pop, and more besides. As always, we hope you find something new to enjoy, or something that gives you the curiosity to dig a little deeper.
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Set Feux features the talents of vocalist/keyboardist Diana Planche – a musician who first broke through as a member of Canadian indie pop band The Paint Movement – along with her husband Barzin, and wearenotwhoweare man Kevin Kralik. On this debut album, it often feels as if it’s Planche who’s in the driving seat, even if she doesn’t have complete artistic control. The material isn’t ever busy, but the very relaxed world that Set Feux creates, seemingly effortlessly, allows the album to be filled with all manner of fine music. In just nine songs, this self titled release takes in elements of light dream pop, mellow and almost soulful tunes, downtempo vibes that occasionally hint at the warm trip hop of Morcheeba, a pinch of light country and more besides. You might read the usual lazy claims that Kate Bush and Fleetwood Mac have been pivotal influences within the Set Feux sound, but if that’s the case, those never dominate the end result. The tunes here are far more lax, and even more distinctive in their own way.
With a run of enjoyable albums that began with 2015’s ‘Legacy’, Praying Mantis seemed to go from strength to strength over the following decade. Granted, a few of the tracks on that album and its successors (2018’s ‘Gravity’ and 2022’s ‘Katharsis’) were a little heavier sounding, but Chris and Tino Troy’s gifts for a strong melody continued to set the band apart from so many of the second tier acts associated with the New Wave of British Heavy Metal, and when dropping into numbers boasting more of an AOR/melodic rock hook, the band sounded as good as ever.
For those who’ve followed the musical progress of New York shoegazers A Place To Bury Strangers since their early days, the band’s gradual, and very natural shift into more commercial sounds has likely formed a very interesting journey. For those who discovered the band a little later, these “commercial sounds” could still feel cold and confronting, but somewhere beneath their distortion and darkness, it should’ve become increasing clear that these Jesus & Mary Chain obsessives were capable of wielding a great tune.
The flute has often been a pivotal instrument within prog rock – Jethro Tull have much to answer for, but other bands like Focus and Tempest were never shy of making the instrument a core part of their arrangements – but its gentle sounds aren’t always associated with metal. In that regard, flautist Ember Belladonna’s debut album fills an important gap in the market. Its eight songs dart between different styles – from flawless new age sounds, to deep gothic grooves, to riff driven jigs – but Ember’s deft playing holds everything together with ease, and presents a classic tone that would be just as home on more of a classical oriented outing.