THE REAL GONE SINGLES BAR #89

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 last few weeks. Although this selection digs deeply to showcase recent tunes from up and coming talents, there’s one name here that should be familiar to most. We’ve also got a couple of superb singer songwriters, some classic sounding dream rock, and even a superb sounding single from a cool pop act. As always, we hope you find something new to enjoy!

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Scottish singer songwriter Stephen McCafferty is in a reflective mood on ‘Lord Knows I’m Trying’. The mature sounding number comes with an acoustic base which works flawlessly against a smooth vocal, but things begin to sound even more impressive once the rest of the instrumentation starts to appear. This is a number that’s in no hurry: it first adds a strident piano chord or two and a little warming bass, suggesting something in the Coldplay mould, but then takes a detour into a world of adult guitar pop where ringing guitars bolster a vaguely Celtic sounding melody that almost feels like a welcome tip of the hat to bands like The Adventures. Wherever the music goes, though, it’s Stephen who’s so often the main focus, and his voice glides between melodic pop sounds and an impassioned cry on the main hook in such a way that demonstrates an easy knack for sharing something grand, yet without bombast. All in all, a marvellous single.

The ragged guitar work that opens Katie Mal’s ‘Caught Up’ brings an unexpected pang of nostalgia by sounding like a not too distant relation of those early Billy Bragg recordings. That’ll be enough to grab the attention of a few people, even though this single soon veers off in a different direction. Not that the guitar playing softens: Mal continues to power forward with some fantastically abrasive edges, musically speaking, and those are offset by a brilliant indie pop vocal that lends a 90s flavour to an upbeat arrangement. What’s most important here is how natural everything actually feels: the punchy melodies bounce freely against the kind of vocal that conveys confidence and a genuine charm, without aiming for perfection. For those who like their singer songwriters to have a retro alternative slant, this will be definitely hit the spot.

The almost legendary Kurt Baker makes a confident and commercial return with ‘Warm In The Winter’, a co-write with Wyatt Funderburk that mixes power pop coolness with the sugar sweetness of classic pop punk. The number immediately makes great use of a classic guitar sound – familiar to Baker’s growing army of fans – but it’s his curly vocal that really makes this track. With a typical power pop sound, he not only sells a massive hook with ease, but also brings real character to the track’s quieter middle eight. With a really chunky riff leading into a final visit to a great chorus, this feels like a track that covers a lot of ground within just four minutes. It’s more than a power pop banger written to order, despite featuring many of the songwriting duo’s familiar traits – it’s a catchy as hell workout that has an energy that so many working within the genre have lost this far into their careers. Listening to this, you’ll get the sense that KB still loves making music; writing and recording because he wants to, and not because he feels he has to. For fans and first time listeners alike, this is a real treat.

There’s also a welcome return for the legendary Don Airey. The Deep Purple keysman is getting ready to unleash another solo album, and if ‘Tell Me’ is any indication, the full length release will be a real blast for fans of classic rock. It absolutely thunders out of the gate with a barrage of drums, guitars and swirling organ, immediately conjuring memories of the high octane Purple numbers like ‘Speed King’ and ‘Fireball’. Reinforcing that influence, guest vocalist Carl Sentance delivers a massive wail of a vocal that’s clearly modelled on classic Gillan performances, pitched perfectly. This becomes particularly evident during the middle eight when things slow down, and Carl is given more room to perform. At this point, ‘Tell Me’ sounds like the ultimate homage to a classic rock past, even before everything reaches fever pitch via a top notch lead guitar/keyboard duel where Airey drops the ultimate tribute to the much loved Jon Lord. Granted, there’s nothing here that fans won’t have heard before, but it’s always a thrill to hear old school rock delivered with so much passion.

Those looking for something more of a pop persuasion should enjoy the excellent ‘Show Me What Love Is’ by Germany’s The Deadnotes. On this number, the guitar evokes a post-disco vibe, and as the melody grows, there are influences from massive bangers like ‘Get Lucky’ and cult tracks from Discopunk. With a hint of Portugal. The Man thrown in for good measure, the funk-pop arrangement leaves very little to chance. The chorus is strong, but the music is stronger, and by the time the steady beats, brass fills, slightly accented vocals and pop sheen reach their inevitable fade, from first listen, this leaves a superb impression. It’s unashamedly fun; the kind of single that suggests a massive hit is on the cards for these guys at some point during 2025.

‘Mirror’, the current single from LA’s Tombstones In Their Eyes, has been dubbed ‘Bliss Rock’, and it isn’t hard to hear why. The overdriven guitar sounds lean towards the more melodic end of shoegaze, but the melody in hand never offers any of the more aggressive elements associated with the style. Instead, a slow, almost trippy melody borrows more heavily from dream pop, creating a great hybrid sound. Regardless of musical labels, the results are superb: the main riff and rhythm guitar work both hark back to the early 90s; the other-worldly vocal – layered with effects – shares a love of neo-psychedelia, and even though nothing is ever instant, there’s a strong melodic pull that eventually creates an enjoyable musical backdrop that revels in its familiarity. For lovers of retro alternative sounds, this has the makings of being a long term favourite in a world of disposable music.

Working within the more “traditional” dream pop mould, singer songwriter Avery Friedman delivers a potential cult classic with ‘Flowers Fell’. The arrangement makes no secret of its musical intent when slow, slightly reverbed guitar chords ring forth, but there are even dreamier aspects coming through a slightly lax vocal and mellow bass. Best of all, though, is Avery’s vocal, which floats against the trippy retro indie sounds with a confident nonchalance that manages to sound like something from the genre’s pinnacle. This is a superb example of how music can transport the listener away from their daily stresses. This doesn’t have the completely chilled vibe of an on form Mazzy Star, but there’s certainly a strong callback to the very best sounds of Elastic Sleep and The Sundays, as well as links with the more contemporary Cathedral Bells and anocean. Despite working some very familiar musical tropes, it’s a track that has a massive appeal.

In the summer of 2024, stoner rockers The Blasts released ‘Red Van Dealer Man’, a riff heavy track that valued a chunky sound and a great sense of melody. ‘Get In Line’ follows suit by offering a classic hard rock riff for opening bait, dressing that with a smart lead bass sound creating something a little trippy, and then venturing forth with a world of retro riffs. The heavier edges owe a debt to bands like Fu Manchu, but the overall groove here – and it very much is a groove – goes even further back, with 70s bands like Foghat and even a couple of southern rockers providing an influence. Reinforcing the old musical heart, there are perfectly executed twin lead guitars and an absolute ripper of a lead break, both of which make the performance near impossible to date. Even with a voice that takes a tiny bit of tuning in time, for lovers of retro rock sounds everywhere, this will definitely be a welcome addition to any well curated playlist.

January 2025

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