We’ve reached the end of another year, and the Real Gone Singles Bar has gone from strength to strength. As is always the case, we’ve received far more submissions over the past six months than we could possibly hope to cover, and ended up with a lot of great tracks that just didn’t find a home in the original weekly columns. Some things are too good to pass by, though, so as is traditional, we’ve rounded up twenty of the best tracks that didn’t get covered upon release and created the Singles Bar New Year’s Eve Lock In! We’ve got a great new wave inspired track, a couple of absolute bangers from the metal world, a little Americana, some jazzy yacht rock, funk, power pop and goth. With the help of a couple of singer-songwriters along the way, we hope there’s something in this selection for almost everyone as we count down to midnight…
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Those who’ve been keeping a close ear to the alternative underground this year will possibly have heard a couple of singles by singer-songwriter Celeste Corsano. The quirky performer is known for bending genre boundaries, but ‘XS’ does so far more effectively than before. You’ll find the usual jagged edges within the track’s arrangement and, naturally, Celeste’s arty and theatrical vocal style takes centre stage, but this number is, perhaps, more accessible to lovers of classic new wave fare. Both the tempo and tone of this track borrow heavily from The Cars’ essential debut from ’78, and the keyboard sounds are so retro, they could even be from the hand of the legendary Greg Hawkes himself. Combine those keys with a vocal melody calling back to the works of Lene Lovich and a repetitive hook that just begs to find a way into your subconscious, and this becomes a strangely alluring listen.
On the brilliant ‘Rocket Girl’, jazz guitarist Torsten Goods shared some massive yacht rock influences that were almost impossible not to love. Teaming up with Incognito, ‘So Deep, Soul Deep’ taps even deeper into a soulful vein, whist still clinging to a style that has close links with the previous single. The rhythm here is quite busy, yet still quite smooth, allowing Torsten enough room to share longer vocal phrases against some fine jazz guitar, but if anything catches the ear on first listen, it’s the blend of piano, bass and strings, all of which lends the jazz-soul mix more of a westcoast vibe. At the point where you think Torsten is ready to wrap things up, he takes the listener deeper into jazz via a percussive interlude and an array of vocal scatting. With summer vibes abound, if State Cows jammed with Christopher Cross and Incognito, it would almost certainly sound like this.
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Billed as “the feel good hit of the summer” Belfast band Gush sound superb on ‘Your World’. Following a pleasingly punchy intro driven by loud drums, the track drops into a pleasing blend of garage rock and post-grunge, with a huge, chopping rhythm guitar at the centre. The juxtaposition of sharp riffs and swooning, sinister voice is inspired, making the core of the performance sound like Aussie band Jet fronted by Siouxsie Sioux, and at the point where you think that might be enough to sell the track, a fuzzy lead guitar riff drops in with a really great melody to set things off brilliantly. There’s so much here that’s familiar, but this is anything but tired.
Power pop legends The Spongetones opt for massive jangle on the upbeat ‘Help Me Janie’. From the outset, the track latches onto a really sparky late 60s via the 90s arrangement where bright chords drive a huge melody and massive harmony vocals bring a massively sunny vibe that’s instantly uplifting. Some of the lead vocals don’t have quite the clarity that such shiny pop deserves, but that once you tune in, that doesn’t spoil what’s essentially a great track. A couple of listens will be enough for the jubilant hook to really stick. With the veteran band sounding truly sparky, this is the kind of track that will enrich any great retro pop playlist.
There’s a great Americana feel running through ‘Disappear’ by Nate Perry and Rugged Company. The blend of hard strummed acoustics and warming bass sounds casts its net back to the sounds of the 90s, with strong influences from Toad The Wet Sprocket and Glen Phillips running through the track’s centre. Mournful guitar lines and light accordion sounds bring a little more of a country/folk feel to Nate’s performance here, though, and the understated melodies really bring out the best in his vocal. He sounds a little world weary, but never gruff, which makes for a perfect fit with the music. The band’s ‘Till The Well Runs Dry’ EP features a couple of numbers which tap into more upbeat moods, but for first time listeners, this will provide a near perfect introduction.
With its heavy programmed beats and hushed vocals, it’s hard not to draw an immediate parallel between ‘Pretty Hate Machine’ era Nine Inch Nails and the opening of MONVRCHS’ ‘New Disease’. After a few bars, however, the track explodes into a furious blend of industrial, alternative metal and metalcore that sounds quite different. The intense drums and heavy guitar riffs tap further into the classic sounds of Static-X, which will immediately attract those who love a fucking massive riff, whilst the more melodic passages – adorned with filtered vocals – occasionally sound more akin to a bigger sounding Linkin Park. By mashing these influences together, MONVARCHS create an abrasive sound that feels like something more of their own. It’s certainly a sound that’ll crush the band’s audience and set the band on the road to even bigger things.
Steve Hewitt, a singer-songwriter based in the South East of England, has released a couple of very enjoyable albums, and ‘If I Said To You’ shares a near perfect example of his honest, mature and stripped down sound. From the outset, the bright tones of his acoustic guitar playing really catch the ear, and even once the arrangement branches out into more of a pop-folk style, those tones continue to sound superb. Between the heavy strums, the intricate notes provide the perfect accompaniment to Steve’s rich, deep vocals which share a heartfelt lyric with ease. “You couldn’t take it if I said to you!” he opines on an upbeat chorus which, in classic Del Amitri style, manages to contrast a forthright and honest opinion with a breezy melody without ever sounding forced. For those who’ve yet to discover Steve Hewitt’s work, this is about as perfect an introduction as any.
Kabüki are a band who are unafraid to blend genres. On ‘Ice Cream’ – a track that was reissued in 2025 after they joined forces with new promotion and management teams – you’ll find the punch of power pop and a touch of pop punk bristling against a glam-ish energy. This sets up a great melodic punch, but it sounds at odds with a sneering vocal that occasionally has an emo-ish tone, but also occasionally shares the drawling tones of the legendary Kurt Cobain. The punchy verses are great, but this track ultimately comes into its own when an instrumental break brings out a harmonic guitar sound and goes “full on Cheap Trick”. In terms of retro bangers, this scores pretty highly.
‘Ego Death’ by Irish duo Blood Harmony is nothing if not distinctive. Brief bursts of vocal offset by glitch beats create a striking intro that gives very little clue as to where things are headed. Over the next two minutes, the track flows through Frank Ocean inspired modern R&B melodies, while the voice from the intro contrasts the melody with bursts of sound that fall closer to something between Lola Young and the studio experimentation of Petra Hayden. Even then, the end results aren’t that close. There’s a feeling that Blood Harmony are pushing pop’s boundaries here and creating something that will deliberately divide opinion, and that’s before you take into account a lyric exploring the different facets of death. It’s certainly interesting, but not going to be for everyone…
Desert rock is one of those subgenres that never seems to get old, and in the right hands, its retro style can still create a superb atmosphere. On ‘Assiduous Gnaw’, The Long Hunt take the genre to its logical extreme on an instrumental jam that takes the guts of Yawning Man and gives them a shake, adding a lead guitar sound that flows a little more unsurely due to a strange, warbling tone. This, naturally, has the effect of making a spacey sound feel even more trippy. For those hoping the band will hit a little more of a groove, a couple of slightly heavier passages lean into more of a stoner vibe without killing the mood and a featured lead break adds an eastern flavour for far more desert based authenticity. Always giving the feeling of movement, this never becomes dull, and repeated spins confirm its all round greatness.
The huge acoustic guitar strums and even bigger vocal driving ‘On My Mind’ by Canada’s Beta Trip immediately evokes memories of late period Britpop. The Verve-esque mood that’s quickly set in place will be enough to make older listeners interested. The arrival of a slightly busier rhythm and a great bassline lifts this pop-rocker admirably, but if anything makes it truly work, it’s the light vocal tone supplied by Steve Lewin, which lends a great melody an even greater feel, since his performance glides effortlessly above the music. This is even better than ‘Juliet’ – the band’s other notable single from ’25 – which placed more of a focus on a shuffling drum line. The slightly more sedate approach taken here really shows off Lewin’s solid songwriting chops, and this single has a maturity that allows this recording to sound almost timeless – or at least like something recorded almost three decades before its time. For lovers of the style, it’ll be a hit.
Great percussion and vaguely baroque influenced string sounds open ‘First Tattoo’ by Serious Child in a very pleasing way. The music may well be far more upbeat than on the artist’s other singles from ’25, but the semi-deep, huge sounding croon that steers the number, remains unmistakeable. With a hint of Neil Hannon, Alan Young’s voice brings a gentle air to the rhythmic orchestral pop, while a narrative about making an artistic leap shares an uncertainty that’ll be relatable to many. The buoyant nature of this track may feel a little too busy at first, but a few listens will unveil the kind of single that’s smart, sophisticated and, above all, able to add something else to the Serious Child legacy that feels suitably rich.
Lettuce drop some serious late 70s/early 80s vibes on ‘Rising To The Top’, a mid tempo jam that blends the soul and funk of Earth, Wind & Fire with some of the smoothness of Luther Vandross. The band haven’t entirely lost their groove-laden edge here, though: throughout the track, the bass pulses with intent, and when presented high in the mix, it provides the perfect counterpoint to a confident, smooth vocal. With the help of some muted brass, subtle keyboard work and, latterly, an instrumental break leaning a little further towards smooth jazz, this is a single that plays like a near perfect homage to the past.
‘Lennie Dale (Fly Fly Fly)’ by James Clarke Five makes no secret of being a little more “middle of the road” than their earlier singles – the brilliant mod-ish ‘Gadfly Groove’ and the baroque influenced ‘Ghost’ – but taken on its own merits, it’s a single that still has a fair amount in its favour. From the outset, this retro pop workout flaunts some fine harmonies which, set against a bright piano, continues to show off the band’s retro interests, and by hitting the audience with the chorus immediately, the band show that they understand the importance of grabbing their attention. As things progress, a strong melody inspired by late 60s fare allows for a simple jangling guitar to underscore a vocal that sits quite naturally against the quieter music. The return of the chorus brings a hugely sunny feel, before extra harmonies and handclaps lean a little closer to classic power pop. It’s one of Clarke’s lighter numbers but the great vocals and strident piano ensure it isn’t twee. In time, it’s the kind of single that’ll sound like the soundtrack to many summers past.
A thunderous drum intro telegraphs the semi aggressive sound of Casket Rats’ ‘Whiskey Queen’ in record time, before a Motorhead inspired riff takes over, ready to clear the cobwebs with an old school intensity. Approximately two bars later, the band hit full throttle with a barrage of dirty hard rock sounds that come screaming straight from 1984, and there’s no two ways about it – they sound like they mean business. The vocal stakes are a bit less impressive; a gravel edged shout is, in many ways, perfect for the band’s filthy sound, but it’s probably fair to say that over the decades you’ll have heard many a similar approach delivered in a sharper way. It doesn’t spoil this track, though: the energy here is always impressive, and with two absolutely incendiary lead lead guitar breaks and a ferocious bass rattle on hand to ensure this still sounds like something with the potential to cause sweat to drip from the ceiling when it comes to live shows, Casket Rats will definitely find a devoted audience for this track, along with its parent album ‘Rat City Rockers’.
Contrasting an almost funky bassline and thin sounding, abrasive guitar work, ‘Shopping’ by Rayon hits the listener with a classic post punk sound with immediate effect. For those able to make it past the not entirely melodic guitar riff, this is a track that offers some brilliant retro treats: as things progress, the bass hits upon a pleasingly fat tone that works very effectively against a detached vocal; an even bigger sounding guitar hints at a slightly more contemporary post-rock tone but, best of all, the climax introduces a flowing vocal melody and swirling guitar that owes more to well played shoegaze. It’s more about a mood than immediate hooks, but in setting up some great retro alternative atmospheres, this is a great track.
Octavian Winters have shared some great goth influenced tunes in the past, but few have shown them in quite such a rocky mood as ‘Hermine’. The opening bars present the expected overdriven guitar sounds and obvious love for the 80s, but a really loud drum powering a faster tempo makes the US band sound even more enthused than before. There are echoes of ‘Love’ era material from The Cult – immediately giving the track a classic feel – but the arrival of Ria Aursjoen’s haunting vocal gives the number something more distinctive. The way she contrasts the rock with a genuine sneer lends a superb contrast, and by the time the main hook is underscored by a world of almost ghost-like wordless vocals, this becomes a genre classic – whether or not its influences play rather obviously. It’s a track to enjoy with the volume cranked, if this inspires people to dig deeper into the Octavian Winters and Aursjoen catalogues, it’s been an even bigger success.
With the help of a live sounding guitar, a stomping rhythm and a really loud vocal, Ben Denny Mo is in a rather rocky mood on ‘In The Breakdown’. It’s one of those tracks where performance comes with such a raw, emotive edge that the arrival of a warm bass and other musical layers doesn’t even soften the blow. Ben continues to share his tale of a relationship ending at full volume, or so it seems, until he somehow reaches inside himself for an even bigger roar, which at times sounds as if its absolutely caning his throat. This, of course, really gets the emotion in the piece across, and in the most direct way. It’s hard to ignore his plight when he says “he needs a crutch” or tells everyone “the lights refuse to spark”, using a heavy handed metaphor for effect. Sounding like George Ezra meeting The Black Keys, this has a retro charm that really works.
In metalcore terms, Tallboy aren’t messing about on ‘Pressure Point’. The track’s main riff attacks with a really dirty edge and when that’s heard against a really abrasive hardcore vocal, it makes the Cumbria based band sound like a truck. Unlike so many metalcore bands, though, they aren’t content with recycling bits of early Bring Me The Horizon and Killswitch Engage and calling it a job well done. Within these four minutes, you’ll discover occasionally funky bass loops that have a vague hint of nu metal in a Korn and Coal Chamber vein, a few angular guitar parts that sound like the work of Soulfly’s Marc Rizzo and even a blast of death metal vocals that take something that was already intense to make it even more brutal. There’s a melodic side here, too, when a filtered vocal steers everything away from the huge metal sounds, even briefly, making the amount of musical ground covered here truly impressive. [Warning: video contains flashing images.]
Last up, here’s a cover tune with a slightly new twist. When They Riot take Green Day’s ‘Brain Stew’ and add a dirtier edge which really works. The main riff remains intact, but instead of sounding like a pop punk in a bad mood, these lads from Leeds crank up the distortion to give the familiar track a grungy edge. This comes through slightly during the first half of the track when a slightly drawling vocal steers away from its melodic punk origins, but really hits during the coda once a lot of extra volume is applied to a weighty riff. At this point, the riff owes more to Silverchair than Green Day, but for fans of the original track, there’s still plenty to love.
December 2025