This visit to the Singles Bar shares a whole wealth of inspiring sounds. Within the eight picks, you’ll find an unexpected tribute to easy listening from a familiar name, some contemporary French pop, something with a country rock influence from Australia, and a new twist on an old classic. You’ll also discover a couple of superb underground rock tunes that represent the heart of Real Gone’s regular coverage. As always, we hope you’ll find something new to enjoy…

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‘Les Lanternes Magnifique’ by French pop singer Charlotte is a mixed bag, stylistically speaking. The guitars weave a jazzy tone; the drums hit upon a mechanical feel that has a close association with contemporary dance pop, and moments of Charlotte’s rather vocal delivery feel as if they’re updating a classic ye-ye tune. The way the track fits together is impressive: it’s almost funky, yet never “funk” in the traditional sense; it’s got a rather pointy edge, but the melody flows strongly. No matter where the music goes, however, it’s often the vocalist who commands attention, and she handles this uptempo jam with a genuine flair. For those looking for an interesting slant on a great pop sound – and are happy to experience something that isn’t in English – this single should be rather pleasing.

The title track from Hotel Art’s ‘Elevator Music’ does exactly what it says on the tin. This gentle single takes an old fashioned melody and a waltzing time signature to weave something that’s a postmodern take on 60s muzak, shared with a knowing wink and the greatest confidence. Despite flaunting a massively kitschy sound, it also comes with a genuine charm. The lead vocal has a gentle yet rich delivery which really works against the simple arrangement which shares a very friendly tone throughout. The biggest selling point here, though, is the acoustic guitar work. This, again, teases with a strange love of muzak, but with an influence from Freddie Phillips, the clarity of the melody in hand is immediately loveable. It shows off legendary Boo Hewerdine’s playing very highly in the track’s end mix, and for his fans, this will be a welcome listen.

Make it past the loud harmonica sound during the intro and some obvious budgetary restrictions, and Satch Kerans’ ‘Glad’ will gradually reveal its charms. This retro pop rocker works a simple melody throughout, occasionally sounding like something from ex-Replacements man Slim Dunlap, and more often hinting at a love for the Ian McLagen penned Faces material, and in doing so, sounds like something you’ve always known. That familiarity works to the track’s advantage, sharing a very 70s inspired guitar riff and vocal with a natural confidence. The real clincher here, though, is the chorus: Thomas Kerans has chosen to share a simple refrain, where the title is used as a high toned, repetitive hook, which really lifts the rootsy sound of the music considerably. A few plays, and this sets itself in place as a DIY champion.

With a shuffling rhythm, busy acoustic guitar riffs and country rock inflected embellishments, there’s a lot about ‘The Green Light’ by Dave Robertson & The Kiss List that’s reminiscent of early Wilco. You might even hear a trace of Robyn Hitchcock & The Egyptians within the track’s slightly fey vocal, but this track takes some great influences to weave a timeless roots pop number that’s as good an intro as any to the Aussie band’s talents. From the outset, this single shares a timeless melody, but various uptempo aspects and knowing lyric regarding a potentially uneven relationship come together to give the track a genuine spark. A few plays will unleash something that’s catchy without ever feeling in any way flippant.

Kurt Baker’s ‘After Party’ was one of the best albums of the “lockdown era”. Arguably his best work since 2012’s ‘Brand New Beat’, the record not only bristled with catchy hooks, but presented some of his most varied musical ideas to date. Kurt’s current single, ‘Inner Demons’ comes with a few sharper edges via guitar work that drifts closer to a pop punk influence, but Baker’s vocal and gift for a brilliantly melodic chorus clings onto his power pop sound. Loaded with vocal harmonies and boosted by huge sounding guitar work, this single has a real punch, but sugar-coated melodies ensure something incredibly catchy greets the listener. Everyone within the power pop community loves Kurt Baker, and this single gives KB’s audience another reason to be excited. It’s a real gem.

By sharing a world of downtuned guitars and adopting a slow tempo, ‘Impact’ by Dutch hard rockers Queen of Spades has a very 90s feel and a grungy edge, but a massive production value ensures the track still comes with plenty of oomph. Between a really hefty bass sound and chugging, muted guitar riffs, it’s an aggressive sounding track, but a clean vocal offsets the abrasive elements, and some confidently approached lead guitar work brings an important balance via an old school melody. From the outset, the band drive home some superb riffs, but it’s often the lead vocal supplied by Peggy Smits that gives the number its genuine character. She approaches the lyrical themes of “never giving up” and “paralysing self-doubt” with a sizeable and sinister tone that really suits the darkness of the arrangement. ‘Impact’ presents a slight shift from the band’s previous hard rock sounds, but it’s a digital single that should attract a few new ears.

Ecce Shnak’s ‘Jeremy, Utilitarian Sadboy’ is one of the most inventive singles of 2024. Its spiky, art rock sound marked a great comeback for a cult band. By comparison, ‘Prayer On Love’ feels somewhat restrained, but a close ear will reveal a track that’s still very interesting. The rhythm doesn’t appear to conform to a standard tempo. The beats bounce around, almost like they’ve been subjected to a remix, even though this is a standard release. The bass follows suit, adding dark layers of sound, leaving a hard edged guitar to remind everyone that this is the work of the same band. Against something that shares a post-punk heart, a dual male/female vocal settles for something much smoother, working almost a goth-pop tone, but always aiming to draw the ear in a way the previous single fought against. Eventually, a slow, brooding sound – somewhere between Tindersticks, Peter Alexander Jobson, Wire, and Gene – unveils a modern sounding art rock treat. The vocals here are especially cool, but in time, each of this track’s very different elements will share their quirky charms.

Last up, here’s a very interesting cover. Spleen have taken the XTC classic ‘Making Plans For Nigel’ and given it a fiery punk-oriented makeover. The core melody remains, but the band have given it a massive kick. Not necessarily in the speed department – although it now comes with a furiously punchy, punk derived bassline on the verse and chopping guitars on the pre-chorus – but certainly in terms of a distorted aesthetic. They’ve taken an old post punk arrangement and twisted it into something that owes more of a debt to the 90s emo of bands like Quicksand, whilst sharing their own influence on a pointed vocal. The result is something that sounds wholly contemporary, yet classic at the same time. This is a showcase for a band on the rise and a reminder that great tunes will never die.

December 2024