Appealing to pop performers, jazz musicians, and even a section of the melodic rock crowd, the music of Daryl Hall & John Oates is incredibly enduring. In talented hands, their work takes on new life, often sounding like something written for the performer in question.
Welcome back to the Singles Bar, the place where we explore some of the more interesting individual tracks that have landed in our inbox. This time out, we’ve got a familiar name taking a new musical twist, a couple of genuinely great pop tunes, a complex metal-centric banger from an up and coming act, and even a bit more jazz. Celebrating a variety of new sounds, we hope you find something to enjoy!
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On November 28th, Finnish black metal band Verilehto return with their second album ‘Aarnihauta’. As part of the early promotion, they’ve issued the title cut as a digital single.
The first new music from the band in two years, ‘Aarnihauta’ is surprisingly melodic. The opening riff doesn’t confront the listener with a typical sheet of abrasive black metal noise, but comes closer to a world of melodic thrash. By adopting more of a mid tempo, the riffs have room to breathe, and in places owe more to the likes of Testament and Soufly than Emperor.
On their self titled record from 1996, The Candy Snatchers ripped their way through sixteen high octane tracks in a little over half an hour, setting a brilliant punky blueprint that would suit the band going forward. With tunes like ‘Yeah You’ and ‘Haunted Road’ playing like an unholy hybrid of the Misfits and Electric Frankenstein, and ‘Sauced Again’ tapping into some even more razor sharp rock ‘n’ roll, the band immediately set themselves in place as a force to be reckoned with.
Lunison’s debut EP ‘See Me As A Friend’ – released in 2024 – presented five tracks where a rock sound was twisted into some very interesting shapes. Its key cuts showed how varied the band could be: ‘Name 3 Songs’ managed to open with a riff that mixed garage rock and an almost post-grunge dirtiness, only to turn that on its head with a huge, melodic chorus full of ringing guitars sounding like a throwback to a great Gin Blossoms tune; ‘Smile, Cruel World’ borrowed from a couple of The Black Keys’ more groove-centric numbers, but added a more melodic vocal, again, calling back to a world of 90s pop-rock sounds, and ‘Velcro’ introduced a reverbed, 50s guitar twang in places, which set against a pumping bass and harmony vocals ended up sounding like a funky take on something from Arctic Monkeys ‘AM’.