Welcome back to the Real Gone Singles Bar, the place where we explore some of the individual tracks that have landed in our inbox over the previous few weeks. This visit to the SB brings some UK based Americana, a slice of acoustic blues, the return of an industrial legend, an interesting cover tune and more besides. Strap yourselves in…there’s a lot of good stuff here!

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Singer songwriter Silas Nello ventures into the blues on his current single ‘Holy Ghost Blues (From West Hollywood)’. This rather excellent track works a hard strummed acoustic guitar to create a strong melodic backline, over which Silas delivers a very soulful vocal. The blend of guitar and prominent voice falls somewhere between light blues and Americana; the effortless sound would’ve created a great listen on its own, but the addition of a harmonica dropping a repeated musical refrain between the lyrical moments really makes the track. There’s also a pleasingly understated guitar solo added to the coda to create a fine play-out. In the main, this recording isn’t especially flashy; it relies on some strong old school melodies and a strong narrative to impress – and on that score, Nello really hits his mark.

A world of chopping riffs and pulsing keys sits at the heart of KOYO’s ‘La Cucaracha’, resulting in something quite funky. Those busier elements are contrasted by a world of lead guitar work which takes in a little fuzz, a little blues rock and an almost post rock tone that makes it hard to pigeonhole. A repeated shouty refrain lends a different quality again, making the number seem as if it wants to fall in line with one of Buzzard Buzzard Buzzard’s more angular experiments, before bowing out with a world of funk bass set against an anthemic chant. KOYO are clearly carving out their own brand of progressive, alternative rock here, but if you were looking for a vague comparison that might give a further clue to this single’s sound, think ‘Extremist’ era Joe Satriani put through the ringer by The Fierce & The Dead and Explosions In The Sky and you might come vaguely close…

Willie Watson’s ‘Slim and The Devil’ is a musical adaptation of Sterling A. Brown’s ‘Slim Greer In Hell’ set to an acoustic arrangement that goes deeply into an Americana sound. The one-time Old Crow Medicine Show man reconnected with the poem after being horrified by the scenes of white nationalists taking over the streets of Charlottesville during the Trump presidency, and the words really took on a life of their own. Poetry stands a better chance of reaching a mass audience when set to music, and in this case, Watson’s treatment of the lyrical work is second to none. The crisp sounding acoustic guitars lend the piece a great backbone throughout, offering a strong counterpoint to Watson’s high toned, slightly wobbly vocal, but the arrangement is actually cemented via the presence of an old style fiddle. Thankfully, Watson hasn’t opted for the full on jig, but the added strings really bring out an old school Americana heart, which takes this track towards the realm of latter day John Mellencamp. With music from 2024 afforded a 90s production sound, and coupled with words that were first published in 1980, this is a timeless work from a multi-talented performer.

Following on from his debut solo track ‘Terror Forms’, Front Line Assembly man Bill Leeb has returned with ‘Demons’, a harder edged number which celebrates a classic industrial sound. Falling somewhere between the classic sound of KMFDM and his own work with FLA, there’s a very 90s feel to everything, but that doesn’t mean this recording ever sounds dated. The huge production sound brings a great life to the song, and Leeb’s choice of tone and beats still retains an edge that so many industrial pioneers have long lost. Most importantly here, his hushed vocal tones really feed into the number’s darker undertones, without drawing too much away from the cold melody which wastes little time in serving up something very accessible for the style. Fans will love it, and those more casual listeners who never really made it too far past the omnipresent works of Trent Reznor stand a good chance of enjoying this too.

Looking Glass War make a very welcome return with ‘Rumination House’, a number that shows off a more melodic side to the band. The track works a brilliant sound that mixes 80s goth pop with a shimmering guitar part that seems keen to slip into something a bit more dream pop oriented. The two moods work together in tandem, though, and the guitar acts as a strong, uplifting counter melody to some of the number’s more traditionally downbeat sounds. The bass is high in the mix, pushing with an almost funky core that carries a hint of Simon Gallup’s muscular sound, but if anything sticks here, it’s the lead vocal. On a few of the band’s earlier records, vocalist Glenn occasionally offered something a little too full on, but here, he’s showing off a far more mature sound, tempering his delivery to allow a softer croon to weave in and out of the fantastic bass work. If you’re looking for something retro and melodic, somewhere between post punk, goth-pop and dream pop, then this single will have your listening needs more than covered. It’s easily LGW’s finest track to date.

Here’s a treat from UK Americana legends Danny & The Champions of The World. A precursor to their long awaited album ‘You Are Not A Stranger Here’, ‘I’m In Love’ is an unassuming tune which captures the band’s mellower side, but for long time fans, it’ll have plenty of charm. Danny’s voice shares a world weary tone that’s a perfect fit for the slow burning melodies, but the number is stolen by a superb guitar part which floats between the steady, rhythmic elements, sharing fluid melodies that present an Americana sound, but tempered with a slightly bluesy lilt. The drum programming might feel a little thin at first, but over time, the main melodies are given ample opportunity to shine.

Tying in with their 40th anniversary, Aussie punks the Hard-Ons are back with a new single. ‘Buzz Buzz Buzz’ comes with plenty of punch, but not a lot of “typical” punk. That doesn’t mean listeners are about to get short-changed. From the outset, the track’s hard rocking style is driven by a huge bass sound that isn’t so far removed from a lot of classic sounding Aussie rock – there’s more than a pinch of Rose Tattoo – and the featured guitar sound is terrific throughout. When the guitars aren’t laying down a grubby lead sound, they’re supplying a superb twin lead, and that drops between some solid harmony vocals with ease. Factor in a simple hook, and this becomes a retro rocker that serves the veteran band very well indeed, even if it’s a world away from those raw sounding ‘Yummy!’ days.

Last up, here’s something that nobody expected. Siberian dark folk duo Nytt Land have recast the Slipknot classic ‘Wait & Bleed’ in a very different musical mould. Gone are the original cut’s intensive pneumatics and growled vocals, and in their place comes a moody, almost gothic tone. From the opening drone and whispered sounds, this promises to be something rather special, but as the melodies grow to incorporate stringed, folky tones, tribal drums and the croak of throat singers, this becomes a grand achievement, acting as the meeting point between gothic metal and world music. The chorus is especially effective. Stripped of its pure aggression, it sounds like the ultimate paean to self-loathing. However, with the angsty lyric offset by some great rhythmic work and a secondary cry, it never feels remotely oppressive – only strangely alluring. In terms of making this their own, Nytt Land have hit the gold standard.

August 2024