Welcome back to the Real Gone Singles Bar, the place where we explore some of the individual mp3s and other bits that have landed in our inbox over the previous few weeks. This time around, among other things, our popular feature casts a spotlight onto a huge piece of funk, a few singer songwriters, a very commercial slice of goth metal and a welcome arrival on the pop scene…


With hazy vocals, gentle organ and a soft rhythm, Tom Emlyn’s ‘Double Crossed’ immediately brings to mind The Velvet Underground in a laid back mood. The Velvets love actually increases during the first verse when Tom appears, rather cheekily, to drop into a guitar riff that sounds not unlike ‘Sweet Jane’. The influence might be obvious, but the performer uses this springboard very much to his advantage. Not only is the music perfect for his echoing voice, but it flows naturally into a couple of instrumental bridges where a psychy feel takes centre stage, which also works brilliantly when underscoring an unexpected sax break. Overall, this single offers a knowingly retro treat that deserves to put Tom Emlyn on more peoples’ radars. A great track.

Fans of massive riffs certainly won’t be disappointed by Pyrofox’s ‘Colourblind’. The single immediately hits the listener with a massive sound that mixes a classic hard rock crunch with a pinch of post-grunge dirtiness. In doing so, echoes of Shinedown are present, but if anything makes Pyrofox stand out, it’s this track’s huge, emotive lead vocal. Despite the weight of the music, Tegen Jones puts in an amazing performance throughout. Her voice curls effortlessly against the heavy sound, and she is always really conscious of a fantastic melody. By the time the middle eight hits – firstly with more of an old school riff, then with an even heavier sound than before – the band sounds like a force of nature. The contrast here of crunch and soulfulness is truly impressive, perhaps even more so than the best Halestorm tunes, making Pyrofox a band to watch out for.

A tune loaded with swagger, Sam Palladio’s ‘Tennessee’ celebrates the Old West against a massive groove. The track introduces a very Black Keys like riff against a steady beat, immediately setting up a big sound that’s guaranteed to catch the ear. Avoiding the temptation to take things in a truly bombastic direction, Palladio seems keen to let the groove work very naturally, since he never raises his vocal to match. Instead, he delivers a smoother sound which provides a superb contrast throughout. That would be enough to make the track work, but adding a brassy accompaniment against a fiery lead guitar that taps into the bluesy sounds of Krissy Matthews et al sets everything off brilliantly.

Roisin O’Hagan has already received praise from the legendary “Whispering” Bob Harris, and she’s supported Chris Shiflett on tour, but ‘Midnight Indigo’ is the kind of big, hooky number that’s set to propel her career further. It wastes no time in sharing some great high energy sounds when the verse hints at a pure pop, but it’s the arrival of the chorus that shows off the real potential here. Bringing in a jangling guitar, the singer songwriter wrestles with a bigger sound where near perfect rock-pop meets a great voice. As things progress, Roisin works her way effortlessly through something that’s even more broad in its appeal. The pop heart still beats furiously, but the shimmering guitars and punchy rhythm is a better fit for a curling vocal. Overall, this single shares an almost timeless, radio friendly sound that’s very much in line with material by Lissie and Rosalie James. A couple of listens will definitely be enough for it to become a firm favourite.

The Greeting is a new project for 2024 bringing together the talents of pMad and members of Big Generator. Between them, the musicians celebrate the alternative sounds of the mid 90s with a genuine enthusiasm. ‘Need’ has a great verse where light, almost gothy moods underscore the kind of vocal that sounds like it should be coming from one of Alter Bridge’s more understated tracks, and that presents something that’s immediately appealing. It’s the chorus that wins out, though, with a huge harmony driven melody that calls back to the late 90s underground sounds of bands like Age of Electric and Mother May I. There isn’t always a huge amount of originality here, but that doesn’t matter – this is a rocker that just works. With a tune that deserves to be found by all lovers of melodic alt-rock, The Greeting have arrived on the rock scene with a genuinely nostalgic sounding treat.

There’s a whole world of contemporary pop driving Lloren’s ‘The One’. From the outset, its mechanised mid tempo echoes a few tracks from Taylor Swift’s excellent ‘1989’ album, but that influence grows further on a huge chorus hook where big beats and echoed voices sound as if they want to drop into ‘Out of The Woods’ at any second. This artiste has a set of her own talents, of course, and a deeper, broader vocal gives this track more of a mature feel, and the simple device of using a wordless hook as a coda shows an easy knack for reeling in an audience. On first listen, the track might sound a little too shiny, but stick with it: by that third or fourth play, you’ll be drawn in by the huge pop sounds, and possibly convinced that Lloren is about to become a much bigger name in the ever changing world of pop.

In 2023, Philippa Healey released the excellent ‘Same Age As Your Mother’, a track where the singer songwriter took a sideways swipe at middle age. In addition to showcasing a strong voice, the single celebrated a very retro sound, with a dominant electric piano adding tones that were strongly reminiscent of late 70s Doobie Brothers fare. ‘I Used To Be Fun’ throws itself face first into a retro groove of a different kind. Heavy funk basses push a great rhythm forward; layers of keys add even more of 70s feel, and a steady rhythm holds firm beneath a flowing vocal. The members of Jamiroquai put in some very hard yards here and show they’re capable of equally great things when not backing Jay Kay, and Healey shares another sassy vocal that’s perfect for another tongue in cheek lyric. This time around, that concerns how tiring motherhood can be, and finds the performer just yearning for an old school night out. Possibly even “out out”. Whichever way you approach it, this is an absolutely superb single.

Finally, here are some very early 90s goth vibes from Lacrimas Profundare. ‘Shimmering’ offers a perfect balance between darkness and commerciality, since a very deep vocal is joined by the kind of riffs The Cult might have summoned during one of their moodier days in 1984, only taken via a late period Paradise Lost route. The music is immediately appealing in a very retro way, but it’s the band’s unashamed melodic twist on the chorus where the crooning voice weaves in and out of a bright sounding keyboard that really makes the track. With dark harmonies brimming throughout, the single has a surprisingly catchy air, and by delivering everything within three minutes, is a perfect exercise in tightness. Fans of the style should find something massively appealing here.

June 2024