Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting tracks that have landed in our inbox over the past few weeks. This time around, you’ll find a great example of alt-metal, an unexpected gem from a legend of 80s goth, a decent slice of power pop, well crafted tunes from a couple of singer songwriters, and more… As always, we hope you find something new to enjoy!

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Bauhaus legend David J is back! However, his current single ‘Requiem For The Rose Garden’ presents sounds that are fairly far removed from anything the more casual listener might be expecting. Opening with intricate acoustic guitar, the number sets a very soft mood in place, and gently brushed drums add a rhythm that appears almost as relaxed. The reflective and very melodic music allows for a wordy lyric to take centre stage, with J exploring narrative exploring an older America, Jackie Kennedy and the White House’s East Wing during better days. The song is, according to its writer, “basically a protest about Trump’s administration and the atrocities it has visited upon the USA” and how his concreting of the Rose Garden is symbolic of his trail of destruction. Rather more Leonard Cohen than 80s goth, this truly invites the listener to stop in their tracks and pay full attention. The subject matter is certainly upsetting – at the time of release, Donald has done so much damage to the US – but the sounds presented here are quite beautiful.

Following their excellent ‘Pickle Eyes’ single – a near perfect homage to 90s alt-rock – Raised On Candy go all moody on ‘Red M&M’. The contrast of birdsong and deep bass grooves is a little unsettling even without taking a long and haunting vocal melody into consideration. The quieter aspects of this number are genuinely set to unnerve; the combination of bass and feedback sets something dark in motion, even when heavy toms lend more of a Jane’s Addiction vibe. However, a much noisier chorus and heavy instrumental break offer a perfect tribute to the sludgier end of the grunge spectrum with guitar riffs clearly influenced by the legendary Soundgarden, and a few more obtuse bass grinds bring a Melvins-eque intensity. ‘Red M&M’ provides more of a mood than an actual song, but sounds superb when played back at a decent volume.

In the winter of ’25, singer songwriter Daylin Jørgensen released ‘Ripped Jeans’, a fun single that celebrated trashy fashion statements within a busy country pop arrangement. Her new single casts an eye upon love, with ‘Together’ inspired by her own wedding day. A gentle acoustic arrangement centres around a finger picked guitar and crying steel, dropping the listener straight into a world of light sounding country. The addition of strings brings a heartfelt melody further into focus, before a full band latches onto a mellow waltz. No matter how full the music sounds at its peak, it’s almost impossible to tear your ears away from Daylin’s high tones, delivering a crystal clear melody throughout that really suits this simple tale of giving a heart to a significant other. Listeners who enjoy country-centric material will certainly find something to love here.

Here’s a great track with a great0 energy, shared with a genuine punch. Post punk band Cold Expectations waste no time in latching onto a speed driven rhythm on ‘Waiting For The Pills To Take Effect’. Absolutely loaded with overdriven guitars, this delivers a brilliant riff, and an even stronger drum part that’s absolutely loaded with tight, fast fills that make everything sound even more exciting. Factor in a contrast between a very natural lead vocal and a melodic chorus, then throw in some unexpected new wave keys, and you have a winning formula. There are moments where their slightly angsty approach to an arrangement has the air of something from Minneapolis rather than the band’s home town of Boston, but for fans of things on the punkier end of the musical spectrum, this’ll be a favourite track in no time at all.

In the summer of 2026, singer songwriter Ryan Conner – aka Rain Corner – released ‘Like That’, an excellent number that showcased a great voice within a modern pop context. His current single ‘If We Make Love’ clings on to a contemporary sound, but shifts from the pop-centric into a landscape where synth sounds and slightly glitchy beats meet with a strong soul and R&B influence. Despite the soulful melody, this isn’t very warm; scratch beneath the surface, however, and a brief appearance of a bluesy guitar and an echoing melody sitting beneath a prominent vocal bring a lot of extra interest. Despite Connor’s gift for a melody, there’s a strong synthetic feel to most of this number, but it should still click with those who find a love for the overall sound.

Those keeping an eye and ear on the power pop underground recently might have encountered a couple of singles by Gary Calamar – one featuring a guest spot from Devo man Mark Mothersbaugh and another featuring the wonderful Robyn Hitchcock. Gary is about to release his ‘Odd Numb3rs & Slanted Rhymes’ full length, and Big Stir Records have highlighted another focus track. ‘She’s So Mid-Century’ is a number that’s been floating around for a while, but the launch of the album is a good an excuse as any to get it into peoples’ ears. A number absolutely loaded with chiming guitars, it shares a melody that is enjoyable from the off, and with a pinch of psychy goodness, creates something that makes Calamar an easy sell for lovers of retro pop. The track calls back to Flamin’ Groovies, Smithereens and even a little Paisley Underground fare to serve up something that feels like something you’ve always known. The music’s rather crisp sound is a perfect fit for Gary’s slightly nasal lead vocal too, setting a melodic combination in place that really works. …And keeping with the collaborative nature of Gary’s previous singles, this boasts a co-writes from cult figure Palmyra Delran and Kim Lenz. This is shamelessly retro, but in the finest possible way.

Taking a world of mechanical beats and swirly synths in hand, Lydia Saint George taps into a fine indie pop sound on ‘i’m a little scared’. The way bright keys are used to layer up a great melody brings a brilliant musical hook to the fore, while a few distorted elements bring an unexpected edge. The music’s great, but it never upstages Lydia, despite the singer’s love of a really non-committal, very lax delivery at times. This rather aloof approach really echoes the mood of a lot of contemporary pop at the time of this single’s release, of course, and it actually makes this track feel a little quirkier all round. A couple of spins should reveal something unexpectedly catchy.

Last up, Strange Company share a really solid sound throughout their current single ‘Waves’. The opening riffs blend an alternative quality with a dense tone that hints at earlier Devin Townsend fare. This is later used to drive a brilliant chorus that contrasts a heaviness with an emo-inflected vocal, but this track’s real appeal comes from a more reflective and complex verse. A light vocal with a crying tone glides over a world of complex beats, synth tones and cutting rhythms, sharing something that feels intricate without being too busy. The quieter moments allow the vocal to shine, but metal fans will certainly feel a little more drawn towards some of the heavier elements creeping in during the latter part of this great track. Mixing influences from metalcore and emo, a nod to old school alternative rock and more contemporary bands like Bring Me The Horizon, this serves up a near perfect slab of smart alt-metal that rewards with each successive listen.

October 2026