Welcome back to the Real Gone Singles Bar, the place where we share some of the individual tracks that have landed in our inbox over the past few weeks. It’s an especially strong selection this time around, throwing a spotlight on a new, young band with a perfect take on an old sound; a punchy number straddling the line between indie and punk; a potentially frightening, riff-heavy number; something that falls within the boundaries of blues rock…and more besides. We think you’ll find something – or someone – new to fall in love with, and if so, it’s been more than worthwhile. Grab a cup of tea and dive in…

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Project Overload were named “Best New Local Band” by the Coventry Observer, and it’s not difficult to hear why. Their current single ‘Silhouettes’ is a near perfect slice of indie pop, carrying influences from a ton of old C-86 era bands, and sharing a love of early 90s dream pop that’s recycled beautifully. From a more contemporary angle, some listeners might hear traces of influence from the brilliant Lande Hekt, but this is definitely a track with a heart that’s much older than the musicians themselves. Their performance shows off a tight rhythm section at work: a solid indie groove allows for a shuffling drum line and dancing bass to come together flawlessly, and that buoyant melody provides a great backdrop for Emily’s airy vocals. It may seem, at first, that the melody is the most striking element here, but after a couple of plays, the track begins to share the kind vocal hook that’ll transport some listeners back to their younger days. In many ways, this is a perfect piece of nostalgia that sounds every bit as good in the present. A single that’s not to be missed.

Called “soulful and bluesy” by her PR team, Emily Zuzik’s ‘Love’s About Taking The Fall’ comes with a timeless sound. Its mid tempo approach immediately lends itself to a huge, curling vocal, and a use of subtle yet full sounding guitar work falls very naturally between an Americana influence and a melodic, bluesy sound. These two main features come together in a perfect marriage, and as the song progresses, Emily’s voice appears to grow in a way that really sells the melody in hand. Some listeners may find themselves drawn to the old school organ fills that flow between the rhythmic grooves here, but many will certainly latch onto the sultry tones that Zuzik drops effortlessly in a way that rivals the mighty Susan Tedeschi. At the point where you think this track hits its peak, a huge sax break adds a really cool 70s vibe. Stylistically, Zuzik says she was channelling “late 70s Dylan…and riffing on ‘Gotta Serve Somebody’”, but there’s also something here that calls back to Matraca Berg’s excellent Bob Seger cover, re-gendered as ‘Come To Momma’ from back in the 90s. Whichever way you approach it, this is a flawless track.

A veteran of the Massachusetts music scene, Adam Sherman opts for rootsy sounding adult pop-rock on the hooky ‘Gratitude’. From the outset, the riffs come with a hint of Tom Petty, crossed with mid-period Nick Lowe, and as such, the bulk of the melody comes back sounding like something from the much overlooked Edward O’Connell. Vocally, Sherman makes everything his own; with the aid of a relatively high toned and slightly warbly approach, he gives his classic sounding, slightly simple melody far more character, and by delivering a heartfelt message, this song has an honest heart that never feels imposing. Giving things an extra gentle boost, a slightly country-tinged harmony vocal courtesy of Robin Lane makes everything feel even more satisfying in an equally unassuming way. Simply put, ‘Gratitude’ shares the sound of a man who is content, but if others want to join on his musical journey, then he’ll be grateful for that too.

Stephen McCafferty’s previous single ‘Lord Knows I’m Trying’ was a near perfect semi acoustic workout that showcased a man with a well-rounded talent. His follow up ‘Reason To Run’ comes with just as much of a thoughtful lyric. Opening with a statement where he tells the audience of a book burning dream – it’s genuinely awful when they burn all the books, my Lord – and later taking in a scenario where “castles in the sky” spawn “monsters into lullabies”, it’s a track that very much opts for a striking visual imagery. However, for those not really into words, personal or otherwise, the music more than carries everything. Armed with a rousing folk rock riff that doesn’t feel far removed from early/classic Frank Turner, McCafferty aims to get a world of pop-rock and folk-rock fans onside, and given how infectious his choice of melody is here, that shouldn’t be a difficult task.

With a lyric decrying a “twat” who claims rock is dead, Saurian’s ‘Helicopter Hat’ isn’t exactly subtle. Also, by rallying against the idea of there being “too many subgenres”, the song’s simple sentiments are perfect for the musical arrangement in hand. Taking the shouty and occasionally sweary approach of the UK’s Consumed and applying that to a sharp, thrashy backdrop akin to a lot of the noisier Scandinavian punk bands back in the 90s, Saurian come armed with an unshakable barrage of riffs that offer nothing in the way of pretence. That carefree simplicity makes the number surprisingly catchy too. In and out in under two minutes, this banger by the New Zealand based band attacks with a directness in a way that makes it hard to ignore and, as such, it deserves to connect with punkers everywhere.

A wall of 80s synths and backmasked sounds aren’t necessarily the most traditional way to introduce a singer with a four octave range, but by taking a slightly unexpected route and avoiding any grandiosity, Jordan Duffy’s ‘Not Your Dream Girl’ feels much broader in its appeal. Amid a world of slightly mechanical rhythms, Jordan really shines, sharing a slightly deep vocal tone that works brilliantly in contrast with the arrangement. Her performance has an unexpected richness that makes her brand of pop feel less disposable, and when taking the listener through a bigger sounding chorus, she conveys a presence that’s massively confident without feeling domineering. In terms of striking a balance between quirky pop and a singer songwriter’s narrative, this feels really natural. It’s a single that has a slightly retro sound, but still sounds tailor made for a broad adult pop crowd in 2025. For the more discerning ears out there, these buoyant, sugar-tinged melodies are likely to greet the audience in a way that feels really satisfying.

Hailing from Dayton, Ohio – home of the mighty Guided By Voices – Abertooth Lincoln are set to tear off their audience’s ears with their current single ‘Precision Scheduled Disasters’. Opening with a really sharp math rock riff, the guitars immediately adopt a very abrasive sound, and the rhythm section quickly drops in line with something almost as aggressive. Sliding effortlessly into a punkier sound, this track appears to have a crossover appeal, even once a hardcore vocal emerges. Smashing through a couple of high octane verses, the marriage of anger and precision remains truly impressive, even if the sheer force that’s present here seems intent on smothering anything vaguely accessible. Like a frightening hybrid of early X, Rolo Tomassi and Tubelord, this captures a band unafraid of pushing boundaries, and certainly not aiming for a conventional hit. It’s brilliant.

Last up, one man band Tooth Gore has returned with an exciting new track. ‘Firebird’ kicks off with a great garage rock riff, then powers forward with a world of crashing rhythms in a perfect blend that blurs the edges between noisy indie and melodic punk. Over the Wedding Present-esque backdrop, the vocals take on an unexpectedly croony quality, but like The Smoking Popes back in the 90s, it’s the contrast of styles here that helps maintain interest. Eventually allowing the wall of guitars to fall away to allow for a more sedate middle eight, the vocal takes centre stage, and this really sells a strong track. Holding the number’s main hook back until the last possible moment also allows this pleasingly crashy number to go out with a bang. For those who’ve followed Tooth Gore’s progress so far, this preview of their upcoming second album will certainly be a welcome treat.

March/April 2025