THE REAL GONE SINGLES BAR #87

This week’s Singles Bar is a rock-centric affair, but we’ve attempted to pull together a selection of tracks that really capture a wealth of different moods. There’s a track with 90s dream rock/shoegaze flair, a slab of Finnish metal with thrash elements, a classic sounding and very 90s influenced tune, and something with light prog leanings. Those hoping for something highlighting other genres should also find pleasure within some great power pop and a timeless sounding country-pop number marking the return of a great singer-songwriter. January is often notoriously quiet for new releases, but there should be enough here to pique your interest as usual!

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The Jellybricks are one of those bands that, in power pop circles, require no introduction, and their single ‘Devil’s A Day Away’ marks a welcome return. A Spector-ish drum part leads the charge, and joining the hefty beat, sparsely arranged guitars and a smart pop vocal add a strong sense of melody. The verse is a slow burning affair, but the chorus bursts into life with the expected bubblegum-ish melodies, and a chiming guitar adds more retro charm. This is gold standard Jellybricks: it leans far enough into a power pop past – taking influence from bands like Far Too Jones and others – to feel familiar, but has than enough sprit to ensure the band aren’t going through the motions. It’s good from the off, but just in case fans aren’t entirely reeled in, The ’Bricks save the best moments until the climax, where a strong counter vocal boots an already enjoyable hook, aiming for an all round infectiousness. As power pop singles go, this is a real gem.

In the middle of 2024, The Greeting – a new musical project featuring members of pMad and Big Generator – released their debut single ‘Need’, a throwback to those grungy 90s, but presented with a bigger concession to a strong rock-pop chorus hook. Their long awaited follow up, ‘Over’, essentially brings more of the same, but adds even more of a retro commercial sheen, which definitely works for the band. The opening guitars continue to draw influence from the 90s, but this time around, the vocals blend a slightly gruff edge with a melodic rock coolness, and chorus-wise, the band take influence from the post-grunge hard rock of bands like Age of Electric. The way a really melodic chorus soars above the chopping guitars is perfect, and a couple of spins allows this to sound like something you’ve always known. Had this emerged from the US circa 1998, it could have been a big radio hit, but as it is, these Irish lads will have to rely on the internet equivalent of word-of-mouth for their deserved success. This is certainly a track that lovers of well arranged melodic rock fare will enjoy.

On the brilliant ‘Afterlife’, Swedish singer-songwriter Jonathan Hultén puts a contemporary twist on a couple of classic influences. The deep voices that open the number suggest a gothic tone, but as the slow melody blossoms, it takes on more of a chamber pop sound, allowing Jonathan’s expressive voice plenty of room to share a melody. There are moments here that have a fleeting darkness akin to a deep cut from Scott Walker’s ‘Scott 4’; others explore even more of a cinematic texture, in a Tindersticks fashion. The mechanical beats draw the sounds further away from dark folk and into a post-rock sphere, whilst a few subtle guitar based harmonics fleshing out the coda add prog-ish textures that compliment the vocal brilliantly. Despite being a track that isn’t catchy, or one that fits neatly into one particular genre, this is a sophisticated tune that deserves an audience, and the more descerning rock and prog fans will possibly discover something of great interest here.

Power pop singer Esa Linna takes a musical detour on his recent single ‘Dawnbreaker ’25’. He casts aside his typical 60s and 90s influences in favour of an atmospheric sound that, at first, borders on minimalism. The track presents sparsely arranged guitar chords set over a drone, setting a dark folk sound in place, before exploring musical passages where his vocal appears unaccompanied, save for a few sparse piano notes. It’s not always tuneful, but it’s a perfect match for a lyric that deals with having to endure a rather grim winter. Then, in a reflection of the sun peeking through the gloom, the track evokes a change of seasons for the climax, and Esa adds more uplifting sounds to his original melody. Light piano notes cascade beneath an acoustic guitar, and even those guitar lines adopt more of a finger picked and folky motif. Most tellingly, the vocal adopts a more positive tone as the summer breeze makes its first appearance. This isn’t a track that invites the listener to sing along, nor does it aim for any feel good vibes. This is purely an exercise in smart songwriting and of making great use of a great idea.

Loose Articles serve up a world of moody riffs on ‘Cars, Guitars, Knickers and Bras’. Landing somewhere between moody jangle pop and post punk, the guitar work dominates, but takes on a dark-ish tone whilst the vocal conveys the kind of nonchalance that would make Wire rather proud. It’s a track that often feels more about atmosphere than immediacy, but at the same time, its general familiarity makes it rather appealing. As a promotional vehicle for the band’s ‘Scream If You Wanna Go Faster’ album (out now via Alcopop! Records), it should be effective in attracting those indie rock fans who somehow missed the record the first time around. …And one final thought: Bryan Adams might want that intro back sometime…

The Yets’ previous single ‘3’s’ showed great promise, but ‘Enemy’ – the final track to hit the internet before their debut album release in February ’25 – is a much more appealing musical proposition. From the outset, it weaves a slow and hazy groove, taking obvious inspiration from 90s dream rock and lighter shoegaze tones, layering a fuzzy guitar over a repetitious rhythm. The main melody is taken up by a dual vocal, where male/female harmonies really reinforce an other-worldly feel. There are echoes of cult acts from the 4AD stable, but also a haunting edge that feels a little more contemporary at the time of release. It’s a track where a sense of atmosphere outweighs any immediate hooks, but between a slightly trippy melody and a great lead guitar break, there’s already more than enough here to keep genre fans entertained.

Inspired by the Finnish civil war of 1918, thrash band Kamala sound like a force of nature on ‘Sota sisällä’, their first new release in over a decade. The track’s opening riffs manage to convey a perfect blend of influences from Anthrax and Slayer, which the band then uses to inject a little more of a groove without losing any of the sharpness. With a touch more of a trad metal sound colouring the chorus, this track crosses enough boundaries to be heavy and accessible, and with the help of a soaring guitar part taking centre stage for the featured solo, there’s also a huge concession to a melody. The music is so strong that this single manages to appeal even without an English lyric. Capturing a solid, classic metal sound, this isn’t just an overdue return – it’s also a very welcome one.

Ahead of his next album ‘Forever Songs’ – scheduled for release at some point during Spring ’25 – Shane Alexander has shared a new track ‘Someday Soon’. As singles go, it has an instant appeal, since he takes a very 70s melody and brings it into the present. Building from voice and acoustic guitar, the song grows into a fantastic slice of country pop, where subtle steel guitars weave mournful sounds between otherwise upbeat rhythms, and warm basslines underscore a rich, heartfelt vocal performance. With this track, Shane strikes the perfect blend: the pop elements are there, but never sugary; the country comes through, but isn’t too twangy or clichéd. It sounds a little more earnest than some of his earlier work, but there’s a lot about this three minute cut that promises greatness for the upcoming full length release.

January 2025

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