Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting individual tracks that have landed in our inbox over the past few weeks. This time out, we’ve got the return of an up and coming singer songwriter, a quirky piece of alt-pop, a retro sounding synth banger, a solid offering from a still-new Irish vocalist, and more besides. As always, we hope you find something new to enjoy!
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Continuing the promotion for his album ‘Divine Happiness’, singer songwriter Mitchell Young is back with another great single, ‘Same Old Conversations’. Again, taking a sidestep from the darker tones of his ‘1984’, this track opens with solid acoustic strums before bringing in a steady drum line, setting a slightly 70s vibe in place, which is perfect for his voice. From there, the track builds, reaching a natural peak at the chorus, where ringing electric guitars lend more of a Britpop edge. Although there are moments where uptempo riffs take over, this is very much about the mid pace, the slightly maudlin and the reflective approach that fans will have come to expect. And that’s not a bad thing: by not cluttering the music too much, the lyric gets its rightful place in the spotlight, and Young’s world weary tones continue to showcase his work as feeling a touch more thoughtful than many other young songwriters.
There’s been a fair bit of dream pop emerging from France over the past year, and here’s another artist that deserves your attention. Bleu Reine’s ‘Cavalier Seul’ is a perfect example of the genre: building a world of swirling guitars atop a heady programmed rhythm track, it immediately serves up an otherworldly feel, even before the vocal makes an impact. As for that vocal, it’s lovely. Drowning in effects, it shares a swooning melody that falls somewhere between Julee Cruise (RIP) and the work of overlooked Irish act Elastic Sleep, initially sounding more concerned with mood than melody. However, over time, the dreamy, filtered sounds work a genuine magic, allowing this track to sparkle, albeit in a rather downbeat manner. Fans of the style will absolutely love this.
By mixing some very 80s inspired keys with elements of melodic indie pop from the twenty first century, ‘City Pop’ by Rub sets a very interesting contrast in place. But things don’t settle there: the music, gradually dominated by shimmering guitar lines, is joined by a huge vocal that owes a little more to a blend of soul and pop, before a tonal shift in the music introduces a busier, almost baggy rhythm dropped between the verses. Still not content with that, this track eventually arrives at a spoken word coda, building upon what’s already felt like a rather arty twist on a cool alternative pop sound. It might be fair to suggest that this track mightn’t be for everyone, but it’s always good to experience a band who are willing to think a little outside of the box.
At the time of their current release ‘Anxiety’, melodic punks Ellen May have a small but enjoyable discography. This track actually adds one of their most confident recordings to their growing legacy, and it also finds the Aussie band taking a little more of a poppy turn. The guitars are still front and centre with a pleasingly big sound, but if anything, the music leans a little more into emo influences with light, flowing vocals and honest lyrical content. That said, it’s a slight shift that really seems to work for everyone concerned. The vocal glides brilliantly over a dancing bassline, and the more melodic aspects of the arrangement hint at a love for New Found Glory, but everything really springs to life when a choir of voices are unleashed, allowing a gang vocal to drive a slightly punchier chorus, and a huge, rattling drum sound builds tension during a brilliantly arranged middle eight. In genre terms, this doesn’t offer much you might consider groundbreaking, but Ellen May clearly know their way around a strong melody and understand that there can be a great value in delivering something that’s full of heart.
Back in the days before Twitter was rebranded and became an almost exclusively right-wing hell-hole, members of the Britpop community got rather excited over The Lathums. A few years on, the British band are still very much flying the flag for a classic, guitar driven sound.‘Vice Versa’ comes absolutely loaded with chiming riffs and big musical hooks; the band take the core elements of Cast and Shed Seven, throw in a pinch of Jake Bugg, and serve up a homage to the 90s that really shines. Just as important as the immediately familiar sounding music is the accented vocal which gives the solid number a further feeling of honesty. There’s never been anything about The Lathums that’s felt manufactured, but this track really goes deeply into a rich vein of authentic sounding, retro melodies. It’s hard to believe that it’s been five years since this these lads released their debut, but on the basis of this track, they’re here to stay for a good while longer.
Working around a very mechanical groove, ‘666’ by Gho$$ has some very solid foundations. Instead of building upon those to create something typically funky, the band opt for something a little more atmospheric: occasional guitar strums echo the sounds of something that feels almost cinematic, with faint hints of Federale, and a high toned vocal further feeds into a hazy, dream-like quality. Then, having reeled in the audience, the band increase the volume and the beats, add some old school turntable scratches and samples, arriving at something that sounds like a blend of a Beastie Boys deep cut and Beck shorn of his more melodic elements. It’s certainly interesting. It also won’t be for everyone, but kudos to the band for sharing something that feels like it comes with 100% commitment. [Warning: video contains flashing images]
The new single from Sadhbh Keane (pronounced “Sive”, to rhyme with “five”) comes with an angry title, but that sets up a wonderful juxtaposition. The Irish artist has coupled the self-doubt of ‘Hate Me Now’ with a really uplifting melody, where huge, jangling guitars capture a perfect indie sound, and roaring lead guitars lift everything further with a jubilant sound, cutting through everything with ease. The music, capturing some of the more uptempo elements of Sam Fender’s work, has a genuine spark, but it’s Sadhbh’s vocal that really sells the track, allowing a mix of power and vulnerability to come together in a way that captures the turmoil of those teenage years. This is definitely the sound of a young artist on the rise.
A single that likely slipped under the radar of many people recently, Oui Plastique’s ‘Linger’ offers a welcome throwback to the early 80s. A few pulsing synth sounds create an intriguingly dark intro, and as it transpires, it’s perfect for the melody that soon emerges. The synth heavy act then steer the listener through a slow and moody number that draws very heavily from Visage and ‘Vienna’ era Ultravox, bringing a huge wave of nostalgia. The darker music is offset wonderfully by a melodic vocal, adding lush melodies to a cold sound in the most natural way, and although there are times when this, too, seems more focused on mood than immediacy, several listens will definitely uncover a song with great appeal. For lovers of synth based sounds, this is most definitely worth your precious listening time.
July 2026