This week’s visit to the Real Gone Singles Bar promises a whole world of variety. There are a couple of familiar names, but in terms of genre-hopping, the selection is very interesting. You’ll find something with a great pop heart, a track with a strong dance-oriented core, a slab of rockabilly from a band who last released an album forty years ago, some ska sounds that could well be boosted by a pair of massive Doc Martens, and more besides. As always, we hope you’ll find something new to enjoy…
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Those paying attention to the UK indie rock scene will have spotted Adult Leisure’s rise over the past year or so. They’re back with another superb single ‘Kiss Me Like You Miss Her’, which takes their guitar driven sound somewhere even bigger than before. On this solid sounding, mid tempo cut, the band feel as if they’re tapping into some very 80s arena rock sounds with the combination of steady beats and huge rhythm guitars. This mood is elevated with the help of some jubilant backing vocals and a fat sounding bass that seems as if it’s been pulled from Simple Minds recordings circa 1985. A very natural sounding vocal gives the track a more modern edge, but its gruffer stance doesn’t ever detract from a really great melody worked effortlessly throughout. With a wordless middle eight on hand to give everything an even bigger lift, this is one of the band’s finest recordings to date.
Gentle keys and a soft drone open Veronica D’Souza’s ‘A Mountain’; the singer then shares a mellow vocal, but as this tune finds its feet, it’s about as far removed from the ballad-centric sound that was first suggested. Bringing in a dancey beat, the number explodes into a world of contemporary pop, with more abrasive vocal elements joining the more melodic sounds. It takes a little tuning in, especially given that a few moments here are a little on the “busy” side, but there’s always something of interest that plays out. Everything really comes into its own towards the end, though, with D’Souza tapping into a bigger voice and unleashing a repetitive hook that finally sells the track with ease.
From the moment Torba’s ‘Lies’ kicks off with warbling keyboard sounds and a huge pulsebeat, it makes no secret of its musical intents. The huge sounding track works a massive alt-dance core, and its relentless rhythm wastes no time in reeling in the listener. The addition of distorted vocals and occasional industrial guitars teases with a harsher edge in places, but at the heart of the busy track, there’s far more of an old school Leftfield and Underworld influence working its charm. Then, by ending just as abruptly as it arrived, it leaves the listener hanging, almost as if it weren’t designed for dancing, but instead, created merely to jolt everyone in the most brilliant way.
Following the release of ‘Fortune’ in October ’24, Dead Chic found themselves on a creative roll, with live gigs and the release of their ‘Serenades & Damnation’ album. In a further piece of promotion for that record, they’ve shared the spiky sounding ‘Pain Love Joy’ as a single. The track recaptures the huge drum sound as heard on ‘Fortune’, only this time, the band twists their heavily rhythmic sound into something a little more soulful. Against bursts of keys and a hefty bass, an imploring vocal tells listeners that it “won’t be broken” and “won’t give up”, before launching a chorus where fuzzy garage rock guitars show off the band’s louder side. With the help of gang vocals and a direct hook, this is another track that shares Dead Chic’s huge sound in an almost effortless way.
London’s Buster Shuffle are back with ‘Shows How Little You Know’, a track that’s already been praised for having a “2-Tone and punk energy”. It’s not difficult to hear why. The heart of the arrangement features a classic sounding ska groove, but delivered with an extra punch. The roots of the earliest Madness recordings are here, as are the reggae and ska influences from The Clash circa ‘London Calling’. Everything is recycled with a big love, and replayed with a tightly wound anger that gives a very familiar sound a truly energetic feel. Factor in a very British sounding vocal and the track’s punky sneer becomes even more cocksure. This is more than a slice of nostalgia; like Rancid and the other revivalists, it’s the sound of a band that knows how to push the right buttons to give their audience a great listen.
Taken from their first album release since 1983, ‘Spacewalk’ by Inca Babies is a prime slice of rockabilly revival. From the outset, the number delivers a great guitar sound, loaded with a hefty twang, whilst the echoing vocal adds further depth to a very retro feel. Occasional keys give the track a strange B-Movie influenced quality, and everything pulls together brilliantly to create something pleasingly trashy, without ever feeling disposable. For those who hanker after the days of peak Meteors, this will be a real treat.
Shannon Smith’s ‘Started Off With Lies’ cultivates a brilliant 60s power pop sound. Featuring one of the singer songwriter’s most enthused vocals to date, this single feels like a welcome throwback to his brilliant ‘Dance The Night Away’ debut, but at the same time, it has a melodic edge that suggests the musician is still pushing forward. With the aid of a chopping guitar riff and an upbeat rhythm, the song powers forth with a genuine glee, aiming to reel in the listener from the opening notes, and Smith’s vocal taps into something just as enthusiastic. Smith introduced himself back in 2023 as an artist who clearly believed the power of old school pop still had the power to charm; on this single, that power certainly hasn’t diminished.
The sounds of the 70s loom large over ‘Dragon’ by hard rock collective The Devil’s Blind Horse. The guitar riffs that power this massive five minute joint blend Hendrix-isms with the bluesier end of Deep Purple’s ‘Fireball’ era; dense organ sounds reinforce the old school heart, and drumming with the power of Cozy Powell gives a great melody a huge sounding backbone. This collaboration between members of Evergrey and guitarist Alex Knoll has a lot riding in its favour, but this Horse’s genuinely bright spark comes courtesy of a superb vocal. VK Lynne unleashes a huge blues rock cry and shares a really commanding performance throughout, selling great melodies and hooks with a superb flair. For those who love classic rock sounds with a tinge of blues rock, this single has all the signs of being an instant favourite.
November/December 2024