Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting individual tracks that have landed in our inbox over the past few weeks. This time out, we bring you an unheard offering from the most cult of shoegaze bands, a track with post punk leanings, a couple of tunes with a huge 90s influence, something with a guest spot from Elvis Costello…and more besides. As always, we hope you find something new to enjoy!
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In 2022, Austrian punks Sweatpants Party released a self-titled debut album which encapsulated a superb blend of sharp edged pop punk and classic sounding Ramonescore. It was the kind of record that seemed set to take on Screeching Weasel at their own game, but with a combination of fun songs and a frontman far less likely to punch women in public, it actually bested the Chicago veterans, paving the way to more greatness in the future. Two years on, ‘Wee Little Songs’ took the band’s sound further into Weasel territory, and by packing twelve songs into just eight minutes, the material harked back to the fun fillers on Kevin Aper’s old Apers records. If you didn’t love the Sweatpants gang after this, it’s likely you never would.
The promotion for Josaleigh Pollett’s upcoming album ‘If I Let It Quiet’ has been a slow and measured affair. From the release of ‘Radio Player’ – a complex, multi-layered number – in October 2025 – each successive single has presented a slightly different aspect to the singer-songwriter’s sound and influences. Each one has promised that, if nothing else, ‘If I Let It Quiet’ will be an interesting listen.
In 2024, Sun Atoms released their ‘Everything Forever’ long player, a record that more than made good on the promise of a string of excellent previously released singles. A highlight of that release, ‘Narco Polo’ eschewed guitar based sounds for a mix of funk and art pop, presenting a Talking Heads-ish groove and a swathe of samples to share something that relied as much on an atmosphere as steady rhythm.
In their original incarnation, reggae-ska-punk band Sublime left the world with two excellent albums – 1992’s ‘40oz To Freedom’ and 1996’s ‘Sublime’. Between these two essentials, the sketchier ‘Robbin’ The Hood’ presented some great tracks, but lacked the momentum of the other records, with the more obviously finished material joined by narrative skits and acoustic pieces. For the more patient fan, it actually offered a broader insight into how the band worked; never beholden to one style, Bud, Eric and Bradley were always keen to experiment.