This trip to the Singles Bar promises a proper mixed bag. We’ve got indie rock, pop punk from one of Cornwall’s finest exports, some well crafted electronica with ambient undercurrents, a hugely radio friendly track from Northern Ireland, and even a guest spot from a genuine legend. And that’s just for starters! As always, we hope you find something new to enjoy…
*
On their current single ‘Love, Light, Beauty & Truth’, The Stevenson Ranch Davidians mix 90s rhythms with some heady 60s grooves, creating something that ends up sounding like a blend of ‘Goats Head Soup’ era Rolling Stones, The Soup Dragons and peak Charlatans, topped by a Richard Ashcroft-esque voice. From the outset, the uplifting tempo and melodies hit hard without being confrontational, but it’s the presence of a huge fuzz-toned lead guitar and enthused vocal performance that really sell the track. Despite not offering anything that feels new, this oddly named New York collective deliver a number that feels genuinely inspired, ready to captivate a huge cross section of classic rock and indie rock lovers, providing the kind of song that sounds better with each successive play.
‘Bright Cage’ by Voodoo Queen has one of those intros that seems to go on forever. Following several bars of sharp edged rhythm guitar, the heaviness intensifies to share a huge, retro sounding rock riff, before intensifying again to deliver a heavier stoner rock imbibed sound. As it turns out, this slow build up is actually very effective, contrasting a genuine crunch with the more melodic aspects of the track that finally emerge once Fabiola Thoreau starts to sing. Her expressive tones are a superb match for the rockier backdrop which, by the end of the first verse, has taken on an impressive blend of influences from Rival Sons and Blues Pills. With a lot of great elements already in place, Voodoo Queen then take a go hard or go home approach to the track’s chorus, trading in the melodic bluesy rock for a full on stoner infused swamp, delivering fat and dirty tones via the bass and guitar, before changing the mood once more to accommodate a heavy wah-wahed lead guitar break, which really adds to the dense atmosphere. By sharing some great riffs, a solid dose of heaviness and an absolutely killer vocal, this is a stunning track should appeal to lovers of retro rock sounds everywhere.
The looped keyboard sound that runs through the heart of ‘Birds Eye’ by Lusine feels a little too “busy” at first, but if you’re willing to give your ears time to adjust, there’s also a great melody driving this second single from the artist’s upcoming album ‘Melting Days’. The way ambient drones are used to contrast the main riff proves to be very effective. Rather than just provide a blanket of sound, the tones used are strong enough to stand on their own, providing a slow melody where two chords alternate, bringing far more of an Eno-eque nonchalance to a great piece of electronica. By the time everything settles, this sounds great, but it’s the piece’s final moments that really shine, once Lusine allows more of ambient influences take over. The melody never grows, but in presenting a lush soundscape with hints of Michael Hunter and solo Edgar Froese, Lusine taps into some timeless synth melodies that pull much closer to those shared on his previous single ‘Pendulum’.
Guitarist Jann Klose is known for blending genres and mixing influences to create an interesting take on adult pop rock, but his current single ‘Hurting Nobody’ is a little more commercial than usual. There’s a typical acoustic root, which Klose uses as a base for a light, soaring lead vocal, sharing something very radio-friendly. There are also a few prog-ish textures creeping in during a couple of the instrumental moments, most notably through a huge, melodically driven electric lead, but also via several filtered vocals providing an interesting twist during the track’s middle eight. Klose’s ear for a melody is arguably at it’s keenest on this recording, but those not already familiar with his work are likely to feel a little more drawn towards the track’s guest performer and co-writer: although a little underused, it’s great to hear Marcella Detroit’s legendary voice coming through on occasion, filling space with a couple of haunting sounds that serve the main melody without seemingly wanting to upstage the main performer. If you’ve not heard Jann Klose before, this should make for an effective first listen. [Marcy’s fans should also note that ‘Hurting Nobody’ is just one of three numbers co-written with Jann on his 2026 album ‘The Future Trap’.]
Three albums into their career, Northern Ireland’s Every March show no signs of slowing down. Their current single ‘To Stay Above Ground’ is an upbeat, very natural sounding track that blends pop-rock chops with folky influences to great effect. Following a rather lo-fi acoustic intro, the number explodes into life with a full compliment of live-sounding drums and jangling guitars that create a vague callback to the late 80s with their energetic approach, but the most striking feature comes courtesy of a confident, natural vocal which shares a hint of Hothouse Flowers mixed with a slight influence from contemporary indie rock, driving one of the band’s most commercial tunes to date. A couple of listens in, you should find yourselves more than familiar with a strong and unfussy hook too, making this single a genuine winner.
On the surface, Micah Martin’s ‘Burn Them All’ appears to deliver a strong mix of metalcore sounds mixed with an industrial edge. First impressions can be deceiving, however: as the track progresses, Martin drops in some intense drones, and even sidesteps the metal influences for huge breakdowns driven by massive beats and abrasive blasts of synth that pull away from the industrial and move further into a world of hardcore electronica. In terms of crossover, this pushes all of the right buttons, and by combining a big chorus hook with a really short duration, the track manages to hit the spot in record time. In fact, it could be the best metal/electronica/dance crossover since Premier Jester shared ‘Slow Dance’ at the end of 2025.
Just a few weeks after the release of ‘Scum of The Sea’, the mighty Tooth Gore is back with ‘La Creatura’. One of the Cornish artist’s noisier tracks to date, this single taps into a classic pop punk arrangement where chopping guitar chords collide with crashy rhythms to create the ultimate throwback to the mid-late 90s. There’s a huge dose of the expected TG melodicism too, since main man Kobi Joe offsets the spikier music with a flowing vocal that mixes indie rock tones with his love of retro, 60s influenced sounds to great effect throughout. If the body of the song doesn’t grab you, there’s something even more infectious at hand when Kobi wheels out some catchy as hell wordless vocals to finish, lifting everything even further. There’s a directness here that works from first listen, building excitement for a forthcoming EP.
Last up, as a promotional vehicle for their excellent ‘Ghost Machine: Black EP’, Lowsunday have issued ‘You’re So Wired’ as a digital single. The number conveys a really cold quality, with a world of reverbed sounds underscoring a harsh, choppy guitar, calling back to some great post-punk sounds from yesteryear. This captures Lowsunday’s sense of immediacy brilliantly, making a strong impression even before a heavily treated vocal arrives. That vocal, too, has a strong retro appeal, echoing and wavering, desperate to be heard as it creeps through a wall of guitars in a manner that’s occasionally reminiscent of early Jesus & Mary Chain. By the mid point of the track, with a lengthy instrumental break pushing a world of distortion to the fore, the ghosts of the younger Reed brothers definitely colour an abrasive melody, but Lowsunday recycle everything with a great love that will appeal to fans of the style. Although the EP arguably features a couple of more interesting tracks, ‘You’re So Wired’ will provide a strong entry point to the band’s world of post-punk and goth oriented noise for the unfamiliar listener.
July 2026