There’s an obvious theme of “crossover” for this visit to the Singles Bar, with half of the featured tracks comprising two jazz fusion tracks, a blend of punk ‘n’ roll and alternative metal, and an unexpected noise from a French band that are really pushing the boundaries. With a great post-punk track and a familiar melodic punk act also sharing recent material, there are also a couple of very familiar touchstones here too, making it a very strong mix of material all round. As always, we hope you find something new to enjoy.

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The current single from Glitterfox can barely disguise its debt to The Cure. A throbbing bassline is a direct throwback to the classic ‘A Forest’ and an array of shimmering guitar lines could have easily stemmed from a couple of other ‘Seventeen Seconds’ era numbers. Despite using those influences as a solid base, though, this indie pop band adds plenty of their own flair. The more upbeat elements of ‘Wildfires’ blend the retro alternative chops with a pleasing array of 80s keys, really coming into their own during the track’s optimistic climax, and Solange Igoa’s bright vocal style adds a superb pop infused mood throughout. Produced by The Decemberists’ Chris Funk, this has an absolutely great sound, ensuring that if this happens to be your first listen to Glitterfox, you’ll certainly find yourself wanting to hear more.

A year on from his ‘Goin’ Back Where I Came From’ single, singer songwriter Bones Owens applies less of a bluesy vocal to ‘Old Time Low’, but this track still flaunts a very old school heart. From the outset, he and his band hit upon a stomping rhythm that has strong roots in bar room grubbiness and boogie rock from the 70s, but the sense of grit and a more modern production value helps to make it more recognisable as a Bones Owens jam. It takes all of a verse before the chugging guitars grab the listener and refuse to let go, and throughout the rest of the track, a huge vocal and gleefully simple hook continues to shake the audience in the best possible way. There are moments where this sounds like the ghost of Replacements man Slim Dunlap in an aggressive mood – and that alone should be enough to secure this single an enthusiastic audience.

Newly affiliated with the Audio Antihero label – home of Avery Friedman, Magana, and lo-fi heroes Frog – The Noisy opts for the best kind of musical throwback on ‘Twos’. The track’s guitar work evokes the “stretched tape” tones of the best shoegaze and a light vocal hints at an equal love of 90s dream pop. This isn’t just a basic recycling of past greats, however. The strident rhythm, and big vocal hooks owe more to the perfect pop of Lissie – and by association, the mighty Fleetwood Mac – and the marriage of the two disparate styles creates a great crossover sound. With enough fuzz to please the retro alternative set and enough optimism in a great vocal to catch the ear of the alt-pop crowd, this is a guitar driven work out that could become an underground smash.

Scottish punks Around 7 released some of their best material to date on their 2024 EP ‘A Tale of Martyrs and Heathens’, but if anything, ‘Your Demise’ has the potential to eclipse that. The way this track opens with a speed driven, muted guitar riff and natural vocal without even affording the listener an intro, provides an instant attention grabber. The verse quickly latches onto some classic sounding and very 90s inspired punky sounds, but its when hitting the chorus that this track really comes alive. A broader riff showcases the band’s tough but melodic edge, and a full compliment of gang vocals celebrates a classic punk melody. After allowing time for things to settle, a surprisingly aggressive lead guitar break brings old school excitement of a different kind, before a quieter middle eight leans into something more emo – albeit coupled with the kind of melody that Lagwagon’s Joey Cape might have favoured circa 1999. With a world of great sounds built up, a rousing climax brings some great drumming to the fore. When it comes to packing all of the best melodic punk ingredients into a tightly wound three minutes, ‘Your Demise’ will be hard to beat.

Stabbed keys, a seriously hard funk bass groove and a bright horn section worthy of peak Earth, Wind & Fire greet the listener within seconds of hitting play on ‘Rocket Girl’, the current single from German jazz musician Torsten Goods. As things progress, the brass continues to dominate, but since this number boasts such a sharp production value, that certainly isn’t a bad thing. Also by using the brass to punctuate a busy melody, Goods is able to give those listeners who aren’t especially so deeply into jazz something of a melodic focus. Not that this is without melody: even with its busy approach, the performer’s smooth voice adds a layer of 70s influenced charm, steering the jazz fusion further into the musical waters of yacht rock. In places, this very much allows for a sound that isn’t a million miles away from echoing a very busy State Cows, especially on a harmony drenched chorus. Everything here is very strong, but perhaps the most impressive elements are supplied by a fuzz bass and deeper groove leading into a fantastic lead guitar break where Goods plays like a supercharged Grant Green. Finishing with a bass solo and another outing for a marvellous AOR infused chorus, these six minutes strike a near perfect balance between muso busyness and an accessible melody. A fantastic track.

A very different style of jazz is shared via Matti Klein’s ‘Frontiers (Echo)’. Initially a rather sedate piece, Klein works a steady rhythm from his electric piano, whilst wheezing saxes add an unsure layer of melody. It suggests an arrangement that values atmosphere over everything else. By building slowly, Klein pulls in his audience, and at the point things become a little more drum led, something that once sounded a little uneasy – despite suggesting an easy melody, at least jazz-wise – begins to sound much busier. By the time everything hits peak, the sax work takes on a deep tone that’s often a great counterpoint to the track’s brighter piano sounds, and the drums are actually in danger of swamping Klein’s own contributions, but the band are insanely tight. This isn’t as accessible as Matti’s previous single ‘New Frontiers’ or his much earlier ‘Rocket Swing’, but for listeners who’ve plenty of time for good fusion, or have a wider interest in jazz, it’ll still be of great interest.

Billed as having “emotion of pop and the energy of metal” French band brokNface summon an immense energy on ‘Funk Me Nice’. The opening beats of the number serve up a great rhythm, where funk and dance-pop collide. Then, just as the audience are expecting something with just as much pop flair, a massive dirty bass groove steers everything towards a grimy alt-metal sound. Layering up the noise, a distorted vocal brings an extra edge, but an incessant hook draws everything back to a world of pop. By bringing in a heavily filtered vocal during the track’s second half, there’s even more of a contemporary pop feel, but acutely aware of this, the music counterbalances any sugary qualities by stoking up the distortion. It’s sort of ugly, but great. By the track’s end, the band throw a massive riff – blending elements of new metal and sludge – at their audience, creating something that’s anything but subtle. Pulling from each direction, and pulling with a real intent, brokNface are sometimes in danger of trying a little too hard to impress here, but somehow this track works. For those who think there are no new musical avenues to be explored, this French band are here to prove you wrong.

Last up, here’s a track that attacks with an absolutely killer riff and biting lyrics. The opening chug of The Ultra Violets’ ‘Honey Pie’ hints at a love for punk ‘n’ roll, but presents itself with a much dirtier edge. Applying that to an arrangement that falls somewhere between metal, garage rock and really noisy indie, the band sound like a true force. That’s even before the lyric confronts its audience with a biting message regarding the dangers of using social media in order to obtain a “massive dopamine hit” for “instant gratification”, when the reality is that this tool that connects everyone also exposes us to a variety of dark stories. For those not into lyrics, the number should more than hold its own anyway, since the riffs are really forceful, and a fiery vocal is an equal match for the music’s noisier aspects throughout. If this happens to be your first exposure to the band, it’s guaranteed to make you want to hear more…

June 2025