Welcome back to the Real Gone Singles Bar, the place where we investigate some of the individual tunes that have landed in our inbox over the previous few weeks. This time out, we bring you a dance oriented number with indigenous vocals, a couple of very different country tracks, a second single from an up and coming British band, and an unexpected reissue. You’ll also find guitar driven pieces that fit easily into our more typical musical jigsaw and the return of a cult singer-songwriter. We hope there’s enough here to suit a variety of ears…

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Kat Robichaud’s earlier single ‘Vampire Love’ served up a perfect 80s homage. Its combination of bright synths and light goth-pop overtones created a superb sound that could’ve almost passed as an unreleased cut from 1989. Her new single ‘Psycho Hysterical’ is a little more subtle, but also feels massively retro. The blend of huge piano chords and muted guitars hints at a love of early 90s alternative fare, and Kat’s natural, curling voice shares a commanding presence throughout. Unlike it’s predecessor, though, this isn’t a track that works purely on old school charm: there’s something about the busy chorus hook and wordless backing vocal moments that come together to create something that would suit Lady Gaga, suggesting that Robichaud is capable of writing bangers that – if word of mouth is strong enough – should connect with a broader pop audience.

Country music has seen many changes over the years, but there’s time enough for more traditional sounds, and with its mid tempo and guitar/fiddle combo, Keven Daken’s ‘Country Soon’ makes no secret of its old style heart. The musical arrangement, a mid tempo stomper, certainly goes a long way to lending most of the memorable elements here, but Kev’s slightly drawled vocal and big presence, likened to Brad Paisley, more than holds its own throughout. The track plays somewhat predictably, but with the aid of a strong hook – delivered with a classic vocal twang – and moments where the guitar and fiddle interplay supply a huge amount of the musical interest, it’s a single that very much pitches itself to the 90s country fan. It’s safe to say lovers of the “hat country” sound will love this…

…And for contrast, here’s a country number with a more contemporary feel. Morgan Wade’s ‘East Coast’ blends semi-acoustic guitar sounds with quiet, crying steel to create a musical backdrop that, in an Americana sense, is almost perfect. The country elements blend seamlessly with a folky backdrop, but the arrangement also weaves pop-ish melodies into a very smooth sound. Even when things rock up just a little, to make for a tougher instrumental break, the country elements here remain at the fore. If that doesn’t sell the track, Wade’s accented, curling vocal tones certainly will, hitting upon a classic country style that exudes an easy cool. A great single.

On their current single ‘Gimme Some Pain’ US rockers Tombstones In Their Eyes venture back to the early 70s with a heavy post-psych strum and a rather maudlin vibe. It isn’t necessarily the kind of track that aims for instant gratification; this is more about setting an atmosphere in place, and on that score it works quite well. Once you accept the slow melodies don’t really change from their original remit, it’s easier to be drawn in by the hazy vocals and retro harmonies, before an even more old fashioned lead guitar break adds an almost country rock edge to a slow, shoegaze-ish backdrop. The very epitome of a “slow-burner”, this is an offering that’s likely geared more towards the existing fan, but the open minded listener might find something pleasurable here over time.

What happens if you take a stomping rhythm that feels like a distant cousin to a couple of old Marilyn Manson tracks, a howling lead guitar sound borrowed from the hard rock glory days of 1991, and a country tinged vocal melody, then stick them in a blender…? Fangslinger’s ‘Bare Your Teeth’ does exactly that, and the result isn’t as “out there” as you might expect. They’ve given fans a hugely melodic yet still chunky number that rocks hard, but actually offers a bigger pull via a huge, curling vocal that doesn’t, at first, seem like a natural fit for a melodic metal track. The fusion of styles is absolutely terrific, and even from first listen, the track has a catchy as hell vibe that really sells the band’s talents. Although the top notch production values ensure the guitars and drums come with a hefty crunch, it’s the contrasting vocals from Fangslinger (a slightly shouty, nu-metal centric approach) and BloodRose (a massively confident country rock cry) that really sells the performance overall. Even if you’ve never heard this band before, there’s plenty here that will feel familiar, and plenty that’ll keep you coming back for repeated listens.

The fusion of indigenous elements with contemporary electronica would be enough for Shub’s ‘Victorious’ to stand out, since the melodic chorus hook – bringing those indigenous elements to the fore – provides something of immediate interest. This track goes one step further than the likes of Enigma and Deep Forest back in the 90s, though, since it also makes time for a countermelody where huge, soul drenched vocals (courtesy of Tia Wood) bring a far more commercial edge. Hearing everything together creates something confident, but also incredibly focused. Wood’s voice works perfectly against the semi-glitchy backdrop, and the contrasting styles give the number a genuine energy, even though there are moments when the vocal hooks aim to give a pause for thought. In crossover terms, this is a really cool and surprisingly accessible offering.

Here and gone in a little over two and a half minutes, ‘Ugly’, the second single from Oswald Slain doesn’t leave any room for padding. As such, it immediately hits upon a garage rock groove – sounding like a distant cousin of Charlie and Rhii’s former band, Little Thief – and showcases a huge, natural vocal against a steady rhythm. Bringing in a few fuzz guitars along the way, the track has a very organic sound which will definitely appeal to those who loved the Thief and still enjoy older material from the likes of The Strokes, but the big draw here is the chorus, which features Charlie going straight for the simplest of hooks. By spelling out the title, that hook may seem a little clichéd, but its delivered with the kind of panache and self-belief that makes it really shine. With a little more musical interest supplied by a pumping bassline and occasional bluesy guitar fills, this relatively raw workout is pleasingly full bodied, and being far more infectious than the band’s earlier ‘Happiness Is Overrated’, it suggests even greater things are ahead for these guys.

Last up, here’s a throwback to the past that’s about to greet a new audience. Little Annie has been working with alternative musicians since the 70s, and is the very definition of a cult figure. She’s about to release an album featuring the best of some of her collaborations, and those brave enough to dive in will hear her working alongside the legendary Marc Almond, Swans, Kid Congo Powers and others. It would have been easy to promote the new LP with the Marc Almond track – and likely to gain the most attention – but true to form, Annie has chosen one of the record’s more obtuse cuts as a primer. Recorded in 1991, ‘Things Happen’ by Coil is a relatively minimalist piece where a drone is interspersed by abrasive string sounds creating more of a rhythm. During the moments where the beats intensify, everything falls somewhere between goth and industrial, and the moody sound crawls along with an ominous quality, sounding more like a deep cut from an alternative film score than anything else. Atop everything, there’s Annie: she shares a slow and sultry vocal that’s part later period Siouxsie, part ‘Whore’ era Lisa Dalbello and part Marlene Dietrich; purely theatrical, never commercial. If you’ve only ever known Coil for their Nine Inch Nails connection and remixes, this will certainly surprise, and if you like what you hear, then Annie’s ‘With…’ collection promises to be interesting.

March 2025