This week’s visit to the Singles Bar brings a whole world of variety. Bookended by two genuine power pop bangers, this selection of tracks also takes in some really tight funk, a new track by a cult singer songwriter from Scotland, the long overdue return of a dreampop inspired indie band, a loving recreation of a cast iron classic…and more. As always, we hope you find something new to enjoy!
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The Corner Laughers will be already be known to power pop fans, but very few people would associate their upbeat sounds with spookiness. On their Halloween themed track ‘Dark Matter’, the Califormian band have achived the ultimate crossover, attaching lyrics about coverns, spells and “magpie magic” with a bright, sunny arrangement that’s guaranteed to raise a smile. Delivering the cartoonish tale of dark mischief, the lead vocal shares a constantly upbeat tone, allowing sugary harmonies to glide across an upbeat bassline, whilst chopping guitar work adds an almost surf-ish tone to a classic 60s infused bubblegum melody. This is one of those tracks that, once heard, will definitely make a great impression: the band are really tight, but Karla Kane’s vocals really sparkle in a way that makes the band’s unrelentingly happy vibes seem utterly infectious. A track that’s not to be missed!
Lettuce have alreadu released a couple of very impressive singles in 2025, and here’s another. At just four minutes, ‘Keep On’ is a succinct jam, but any disappointment felt due to its brevity is more than made up for by an insanely tight arrangement. With immediate effect, the rhythm guitar hits upon a chopping sound that invites unavoidable comparisons with peak James Brown; a busy drum part pulls influence from classic funk and acid jazz, and with everything pushed forward by a bassline that never seems to stop dancing, this takes about twelve seconds before it starts to sound like the ultimate pick-me-up. And that’s before the brass accentuates an obvious Tower of Power feel, a trumpet solo takes everything even deeper into a world of jazz funk, and a wealth of soul drenched vocals make everything sound even more retro. With such a busy arrangement in place, the various vocal elements could have made this sound a little cluttered, but Nigel Hall is in terrific form, and the harmonies used as a countermelody present themselves in such a way that everything just feels perfect. ‘Keep On’ is, without question, the best track to emerge before the arrival of Lettuce’s next album (‘Cook’, set for a December release), but it might also rank as one of the best songs of the band’s career. Yes, really.
When it comes to melodic punk with an emo overtone, the current single from King of Cups, ‘Lighthouse’, is pretty much perfect. From the outset, the prominent guitar seems more concerned with delivering a broad sound rather than descending into jagged punk-by-numbers, but the arrival of a verse where a muted guitar allows more space for a superb vocal and leans further into an emo sound really reinforces the accessible edge. The soaring melody at the heart of the number occasionally sounds like one of The Ataris’ poppier numbers, but that catches the ear almost instantly with its heartfelt, almost aching tones. Factor in a lyric that is just as fuelled by emotion and a deep longing, and this basically hits the mark at every turn. Even if everything sounds like something you’ve been listening to from the late 90s onward and doesn’t really bring any new twists, this confirms the Cups’ place as one of the best melodic punk bands you have possibly never heard.
Twelve years is a long time between releases, and Kate Bush doesn’t have the monopoly in disappearing for that long… Howling Bells returned earlier in 2025, and their current single ‘Heavy Lifting’ is fanrastic. This alternative rock number uses a very 90s sounding breakbeat to set up an unwavering groove and then layers that with a lot of flawlessly applied sounds. The verse offers a slightly jangly quality, fusing retro indie with a touch of pop, before the band bring in a slightly heavier, swirling sound for the chorus. There, there’s more of a shoegaze vibe, but without losing any of the strong melodic elements that have been set in place, and there’s also time enough for a slightly angular sounding solo, pulling the poppier elements towards something a little artier. Everything is afforded a great flow, thanks to a slightly aloof but pleasingly sugary lead vocal that’s unmistakeably from the Howling Bells universe. No matter how many years have passed, fans will welcome this return, unreservedly.
Here’s a new take on a number that’ll be familiar to most. ‘Spooky’ – originally recorded by Classics IV, but becoming an evergreen favourite in the hands of Dusty Springfield – has been recorded by Triptides, the sometimes psychy LA trio who love all things retro. They’ve wisely chosen not to tinker too much – you can’t improve on perfection – but their performance is stellar. From the moment the distinctive keyboard riff hits with its Fender Rhodes tone, the recording becomes an instant classic, but the natural production values applied here also allow everything else to bristle with life. The drum sound is pleasingly punchy with a small amount of reverb helping everything to sound live; the bass comes through in warming waves, solid but never flashy, and a b-movie inspired organ tone eventually takes centre stage with a spirited solo. Best of all, though, is the track’s vocal. Approaching the performance with a slightly breathy tone, Glenn Brigman summons the spirit of The Zombies’ own Colin Blunstone, which really helps this 2025 recording sound, rather naturally, like something from the past.
Earlier in 2025, Belgian indie pop band Portland released ‘Lay Me Down’, a track that blended a pulsing bassline with huge sounding guitars adding a strong influence from shoegaze. Their current single ‘Exactly What I Need’ is far more optimistic, and much more radio friendly. The opening rhythm suggests a love for classic New Order, as does the track’s semi-ptominent bass, but building upon that, the band introduce rather bright sounding guitar lines that mix the driving feel of great indie with the smart pop of Bleachers, whilst a soaring vocal puts in some hard yards to lift an already positive sounding melody even further. The middle eight hints a little more at the band’s shoegaze interests, but not long enough to derail the absolutely superb pop-rock. This is one of those tunes that sounds great from the off, but sounds even better with each subsequent play.
‘Hope, Walk This Way’, a previous single from former Petty Cassettes vocalist David WILTs, coupled a mid tempo arrangement with a rousing hook to share an anthem to positivity. With David’s Scottish accent coming through very broadly, the track sounded like a Supernaturals deep cut reworked by the Twin Atlantic frontman. ‘Velvet Rose’ is actually much bigger in appeal. By adopting a much faster tempo, driven by a punchy drum part and a massive guitar jangle, the number taps into some classic sounding indie rock from the outset. That might be enough to win over listeners even before the number gains momentum, but everything else is also great. As before, David shows a gift for being a thoughtful songwriter, with a busy narrative exploring different aspects of a relationship, but for those not into lyrics, he’s set to grab attention with a huge round of whoahs breaking up the verses. And if that doesn’t work, he’s got a world of “la la”s to create a massively infectious climax. If you’ve not encountered David before, this is definitely the kind of single that’ll make you want to investigate his work a little more deeply.
Last up, here’s some absolutely top notch power pop. From the very first notes, the massive retro jangle that powers The Goods’ ‘Sunday Morning Out of The Blue’ makes itself the dominant force. The band’s love of all things retro doesn’t end there: the track is loaded with a swirling organ sound, stoking up a late 60s feel; a punchy bass tips the hat to a mod classic or two, and a breezy vocal comes straight from a world of late 60’s Californian pop. Done and dusted in just two and a half minutes, this is the ultimate mood enhancer – a track that, had it been released thirty years previously, could’ve been the theme to a US sit-com. This is absolutely brilliant.
October 2025