Welcome back to the Real Gone Singles Bar, the place where we investigate some of the individual tracks that have landed in our inbox over the past few weeks. There’s a really smart selection this time out which, among other things, shares some great instrumental sounds, welcomes back some ska heroes, explores the darker side of an Australian singer songwriter, and even takes an opportunity to introduce someone brand new. As always, we hope you find something to enjoy!

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In terms of crossover sounds, here’s something very interesting from Inca. Although the artist works in an instrumental format and takes influence from post rock and modern psych (with bands like the brilliant Orion’s Belte named as influence), Inca also works a pop sensibility into their sound. This is very obvious on ‘The Pigeon’s Shivery’, where light psych guitar work weaves in and out of an obvious groove. In terms of feeling retro, this comes with no holds barred. The lead guitars are subjected to layers of wah-wah; the rhythms take on a crisp and almost summery feel, while the funk grooves actually owe more to Herbie Hancock’s disco period than any post rock band you’d care to name. With a late arrival of a neo-psych drone and a few more guitars, this eventually sounds like the unexpected marriage of psychedelic pop and Mats Wawa you never knew you needed. A fantastic track.

Jangly guitars and pop harmonies come together brilliantly during the intro of Annie And The Jays’ ‘If You Wanted To You Would’, and do so in such a way that it’s hard not to think of the much missed Sundays. As the track grows, however, it takes on more of its own identity. The guitars increase in volume ever so slightly; the rhythms grab a more solid foothold, and the vocals transition from a light dream pop sound to a full blown adult pop melodiousness. On the chorus, Annie’s vocals grab a hold of a full early 90s pop melody, whilst occasional bright sounding keys hark back to a time even longer ago by flaunting a very 80s sound. With a slight Scottish accent coming through, the track has a distinctive sound, and when the dream pop-ish guitars eventually make a return for the closing bars, there’s a hell of a retro pedigree. It sounds good from first play, but on every subsequent one, there’s a feeling that this could become one of the year’s best underground tunes.

By taking heavy mechanical beats and contrasting them with a sizeable and flowing vocal, Pylon Poets immediately grab the ear with ‘Temptation’. The single’s punchy grooves work brilliantly, and the band sounds cool when dropping bluesy guitar lines and atonal keyboard blasts between the heavy beats, but any quirkiness is offset by a huge melody. The chorus, in particular, is home to a great vocal which invites the listener to sing along once familiar, and a few of the lead guitar lines call through with a classic tone that offsets any vaguely alternative elements with a timeless quality. Like experiencing an old Kasabian single with slightly bluesy interludes, this serves up something melodic but rather striking, and although it is less gothy than the band’s previous track ‘Echoes of Desire’, it arguably presents a more exciting Pylon Poets. A single that’s best played loudly!

Pet Twin’s 2023 single ‘Crow’ took a much darker turn than the one man band’s previous outings. Its mix of acoustic guitars, crooned vocal and cello sounds leant further towards the gothic, and its more melodic charms suggested there would be even more interesting music to come in the future. ‘Dexter’s Lab’ changes the mood yet again, and this time, Pet Twin works a world of trip hop beats and wobbling synths before applying a heavily echoed vocal for extra atmosphere. It takes a little more time to work its magic, but there’s plenty within the Tricky meets Radiohead vibe that really works. By the time the slightly sinister melody finds its feet with the help of a few heavier keys and a howling voice, there’s a feeling that this rather alternative track might just be the biggest sounding Pet Twin tune yet. At the point where this feels as if it has peaked, the arrival of an almost sinister piano line used effectively during the closing moments brings something even greater, since the extra layer of melody brings a truly cinematic edge that brings everything together with ease. This is a superb tune from the underground awaiting a bigger audience.

Rodney Cromwell has been marking out a place on the alternative underground for a number of years. He’s hardly what you’d call a household name, but his retro sounds have struck a chord with those who’ve been paying close attention. The brilliant ‘Exercise Class’ serves up a very retro sounding slice of isynth-pop where the semi spoken vocal calls back to a couple of Blur tracks, the occasional guitar-oriented sounds tap into the “olden days” of C-86 bands, and a hefty dose of electronica opts for something even older. At the outset, the keyboard riffs hint at a love for Visage and even occasional fare from The Human League, but as the number progresses, its layered arrangement sounds a little more interesting in the way Cromwell works a pop melody for an indie-ish crowd. Whether you’re already a fan or about to approach Rodney Cromwell for the first time, there’s something hugely enjoyable here.

Armed with a Weezer-esque guitar riff and a slacker attitude, The Meringues party like it’s 1995 on the enjoyably trashy ‘Shambles’. The number’s fuzzed up guitar and deliberately chaotic vocals certainly hog the spotlight during these three minutes, but in some ways, its the addition of retro keys filling space and the catchy descending melody driving the chorus that really makes the track. Despite a less than melodic hook – again, deliberately so – this is the kind of single that really grabs the attention. Although 90s nostalgia will play a huge part in winning over many, there’s still something contemporary in their sound, since The Meringues’ use of repetitious hooks and semi-sloppy attitude occasionally makes them sound like an amped up Wet Leg. You’d be hard pressed to label the outcome as much more than knockabout fun, but sometimes, “fun” is all you need.

Whenever the world gets new material from third wave ska band Save Ferris, there’s reason to get excited. Their new single ‘Lights Out In The Reptile House’ is no exception. It might not showcase the punchy, bright horn sound that made their early work stand out, but there’s much to love here. The tune sounds like an unexpected hybrid of spaghetti western film score and horror b-movie melodies, and is very smart. The main riffs are augmented by several lightning speed ska-based rhythms, and Monique’s lead vocals are joined by a choir of voices on the chorus to reinforce an epic feel. It’s kitschy, but never sounds like a novelty. Whichever way you slice it, the energy within and distinctive lead vocal make it classic Ferris fare, and fans everywhere will be more than glad of their return.

…And finally, at least for now, it’s a welcome return for Aussie singer songwriter Helen Townsend, whose ‘Demons’ takes a dark turn. The slow arrangement makes time for a pleasingly natural sound where a loud drum underpins a slow, ominous melody. Reverbed guitars layer up some smart Americana, and Townsend’s vocal shifts effortlessly between a soulful cry and huge wail. In terms of modern roots inflected sounds, this is really cool; contemporary, but without losing the influence from classic artists like John Hiatt, Bonnie Raitt and even the more melodic end of Tom Waits. It might be tonally very different to her previous ‘Baby Come Home’, but therein lies the charm: this is another great track from a multi-faceted performer. As the last single to be released before her ‘Take It Or Leave It’ album appears on August 2nd, the moody strains of this number really help to increase interest in the rest of the new material over the horizon…

July 2024