THE REAL GONE SINGLES BAR #75

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 couple of weeks. We think this selection is an interesting one, with something to entertain a broad range of different ears. We’ve got an acoustic based singer songwriter who sounds like they’re heading for big things, some re-promotion for a rock based banger, something with a ska heart that’s almost timeless, a bit of pop infused country, and more besides. As always, we hope you’ll find something new to enjoy!

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When it comes to a solid groove, Magnus Berg has everything sewn up on his current single ‘Save Them Kids’. From the outset, the drums lay down a rhythm that’s part funk and part rock, over which Berg delivers a wordy performance that dispenses with the usual rock and blues clichés. With the help of a bluesy guitar part and a couple of blasts from some 70s inspired keys, the arrangement is often busy, yet never cluttered; always cool, and very interesting. Even when Berg gives in and launches into a Hendrix-esque solo, his take on a blues rock sound is far entertaining than most. This is the collision between The Black Keys and ‘Midnite Vultures’ era Beck you never knew you needed.

In June 2024, Annie & The Jays shared ‘If You Wanted To You Would’, a solid pop-rocker which provided a fine showcase for Annie Liddle’s lead vocals. The band rounds out their year with the superior ‘Too Shallow’, a semi-acoustic workout with a slight 90s feel. Against heavy strums, Annie lets out a full cry – again, showing off a great vocal – but, unlike before, the help of a more natural beat makes and stronger melodic flow makes this feel far more like an organic band effort. A warm bass underscores the main melody, and a heart-on-sleeve lyric presents itself brilliantly throughout. The greatest moments come via a huge chorus, though, since the lead voice is allowed plenty of space to soar, whilst some well arranged harmonies bolster a solid folk-pop edge. This could easily be the track that really puts this band on the map.

The Ratchets kick it “old school” on the brilliant ‘Late Stage Capital’, a track that combines the gruff edge of ‘London Calling’ era Clash with the swagger of the 2-Tone movement. Adopting a hefty ska rhythm, the track showcases a superb dancing bass throughout, and the sharp rhythm allows for a punchy sound. A few strong lead guitars to occasionally drop in with an unexpectedly big tones to add further interest. The music is finely crafted and, vocally, everything is almost as sharp, with the lead delivering a mod-friendly shout that gives the performance an extra edge. Throw in a repetitive hook and a solid drum part and this becomes a single that’s a great tribute to those great floor fillers of the past. In terms of creating an homage to the late 70s, this is perfect.

Following a couple of guitar harmonics to set the scene, Kelsea Ballerini’s ‘First Rodeo’ quickly blossoms into a near perfect slice of country pop. The production values are fantastic, really highlighting both a great bass sound and the subtleties of a gentle guitar part, along with a crying steel. Everything is rich enough to bring out a world of hidden details, especially when listening on headphones. The floaty nature of the main melody is massively appealing, and perfect for a vocal which shares a pop tone, but conveys a gentle sadness. Everything works brilliantly with a multi-tracked approach, regardless of whether that’s used to showcase well placed harmonies or uses Kelsea to echo her lead. This is less “pop” than some of Ballerini’s earlier work, but still sugary enough to provide an instantly uplifting listen.

Released via Black Throne Productions (home of Sons of Arrakis and AAWKS), the current single from The Pale Horses is a genre-bending treat. It kicks off with a semi-grungy riff that recalls the heavier moments from The Almighty’s ‘Powertrippin’ masterpiece, veering off into a dark rock ‘n’ roll sound where hard edged guitar riffs are buoyed by a really punchy rhythm. Then, just as you think you’re in for something that falls squarely between a gothic sound and hefty sounding rock, an echoed vocal and a wall of synth noise injects influences from the vast world of space rock. Giving that time to settle, the whole sequence repeats, and the band draws the listener even more deeply into their world of layered noise. Eventually peaking with a vaguely sludgy riff and a countdown that brings everything full circle, there’s barely a second wasted here, even though it sounds like a marriage of three very different ideas. It’s very different to the band’s previous single ‘Never Know’, but in many ways, it’s vastly superior.

With a heavy usage of shimmering guitar sounds set against a gently mechanical backdrop, Aerolinea’s ‘What Moves You’ wastes no time in sharing its dreampop core. Unlike a lot of bands associated with that indie-ish subgenre, however, this track shares more than an easy, blissed-out vibe. The typical dreampop moments are counterbalanced by a huge bass, occasionally tipping the hat to a love of Jah Wobble, and unexpected twin lead guitars which are occasionally called upon to drop in a vaguely rockier edge. The presence of an interesting male/female dual vocal that’s keener on weaving an atmosphere than sharing a direct and obviously catchy melody creates something just as interesting. There are familiar elements here, but with a couple of new twists, this is strangely bewitching debut single.

It’s a track that’s been floating around for a while, but Foxhole’s ‘Chasing Songs’ is now getting some well deserved re-promotion. A really punchy single, it presents the alt-rock band in the vein of the early Jet, only much chunkier. With an almost immediate effect, the single sells a great guitar sound that straddles rock and melodic punk, and the way that drops into a stop start riff to punctuate an enthused vocal gives the track a great energy. Everything really comes into its own on a fuller sounding chorus however, when the band tackles a swaggering riff where an old rock ‘n’ roll groove is injected into their very 00s inspired sound. At the point where things appear to reach a natural end, a bridge section changes the mood by introducing a slower tempo, before the chorus greets the listener a final time, sounding bigger than ever. In terms of huge sounding melodic rock tunes, this is a winner. Don’t let it pass you by a second time!

The heavily strummed acoustic notes that introduce Georgie Benz’s ‘Curious’ advertise something traditional, and in many ways, the artist’s blend of pop and folk is immediately familiar, but it’s the brilliant lead vocal that makes this track really stand out. During the verse, Georgie adopts a deep and syrupy tone that sounds far richer than her relative youth suggests, and the harmonies that absolutely swamp the chorus sell a great hook with ease. The huge vocals are augmented by a perfect production sound which envelops the listener and helps to bring back memories of hearing those great singer songwriters associated with the Lilith Fair scene for the first time, and how it felt to explore the catalogues of those now famous names. ‘Curious’ is a timeless track – the sound of a star in the making.

October 2024

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