Every visit to the Real Gone Singles Bar uncovers new treats, but as we start to pull towards the end of a UK summer, this selection shares a couple of really special tracks. A new offering from a UK born/Dubai based soul singer could be one of the best things you’ll hear before the autumnal weather sets in; a couple of legends provide the basis for a near perfect reggae banger, and an underground electronica musician really stretches out on his current single. We’ve also got a piece of fairly traditional sounding country, a loving tribute to a classic grunge sound, and a huge alternative rock tune from a band making their debut. As always, we hope you find something to enjoy.
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On his current single ‘Yearning’, Double Tiger reaches for a classic sounding mid tempo rhythm. By the end of the track’s first two bars, the timeless reggae sound is clear for all to hear: the basslines throb, almost even swagger; heavy percussion bolsters a superb rock steady feel, and a few electronic drums hark back to early 80s dub experiments. With a huge and soulful vocal from Double Tiger himself, this is a classic example of how creating something familiar and doing so brilliantly can be so much more effective than pushing the boundaries. Since the track is structured around a previously unreleased groove from the legendary Sly & Robbie, it’s definitely a number that’ll connect with a whole world of reggae fans – even the most casual listener.
Midway through 2024, singer songwriter Veronica D’Souza released ‘Just Because A Girl’, a feminist anthem with a very electronic base. Her current single ‘Canary Song’ clings onto themes of equality and empowerment, but takes a very different approach. Using busy rhythms throughout, the track blends a beat-heavy foundation with a light world music melody, creating something that feels rather summery. In contrast, D’Souza’s deeper vocal tones add a slightly sombre feel, but a strong sense of melody brings everything together. At first, it doesn’t seem as if there’ll be a chorus that reaches the greatness of the verse – and in some way, the slow burning approach to a melody that’s taken here makes that true, at least in part – but a choir of verses coming together and an instrumental break that adds a layer of sound to a still busy backdrop really adds to the appeal. You might have to spend a little time before this track’s charms become truly apparent, but it’s worth it.
Power pop legends Splitsville take their audience back to the 90s on ‘I Hate Going To Hutzlers’. From the moment the number opens with a barrage of muted guitar chords, there’s a brilliantly retro feel to the track, but in proper Splitsville style, the Fountains of Wayne-esque sound quickly grows into something much bigger. The chorus is drenched in harmonies; the lead guitar break drops in with a huge, sweeping style that advertises the band’s rockier edge, and a solid rhythm section powers through with ease. By the time the last verse is underway, you might just be convinced this is one of the best tunes Sugarbomb never recorded.
A new band for 2025, Blake Rascals work a stomping groove throughout their debut single ‘Conspiracy of Snakes’. The slow approach allows plenty of room for a very retro sounding guitar to lay down some rather sharp garage rock leads and for a fuzzy sounding vocal to add to the band’s feeling of accessible menace. Naturally, this makes it a number that’s very much about mood, but the sound is incredible. This becomes particularly clear once the verse gives way for a few even chunkier riffs to introduce a more angular chorus. Eventually, after speeding up to introduce a sharp lead guitar break and to show off some superb drumming, Blake Rascals also suggest they can really cut loose when necessary. Often sounding like the Italian cousins of Royal Blood crossed with ‘Humbug’ era Artic Monkeys, these guys are set to be big among those looking for new underground bands.
Award winning singer songwriter Eileen Carey appears to be playing quite safely on her current single ‘Carry Me Away’. The intro immediately sets a superb acoustic/electric blend in place as the guitars hit upon a strong country-pop melody, and as the arrangement finds its feet with the help of a solid rhythm section, the country vibes begin to come through a little more strongly. The arrangement has a reasonable amount of punch – the electric guitars are nice and prominent throughout – but a banjo lurking within the busy mix ensures the country vibes cannot be missed. As does Carey’s voice, too: she immediately approaches the track with a huge curling tone, and a mature sound that conveys the presence of someone who’s been a part of the scene for decades. There’s little here that’ll change the mind of those who don’t always connect with country music, but fans of the style will almost certainly find a love for this track.
In the early months of 2025, electronic musician Claude9 shared ‘Clouds So Low’, a track that featured a world of beats and synths alongside the kind of bassline that could be found within a Bryan Eno/David Byrne collaboration. ‘Enough Is Enough’ retains a solid bass at its core, but is otherwise quite different. From the beginning, the beats feel slow and stately; heavily filtered voices lend a very late 80s ambience, and the mid tempo – although never ambient – seems to suggest a late night listen. The late night quality is further amplified by Mr. 9’s decision to make the saxophone a prominent feature. The brass doesn’t take an especially busy approach, and yet it doesn’t opt for anything obviously relaxing either: it drifts in and out, bringing very welcome bursts of melody that sound as if they’ve been lifted straight off of Roxy Music’s classic ‘Avalon’ LP. Much like the ‘My Life In The Bush of Ghosts’ inspired basslines gave the earlier track its appeal, the obvious nods to Bryan Ferry and company shared here will be a major draw for some listeners, making this rather lengthy track the kind of slow burner that sounds better over time.
Opening with bluesy guitar lines, ‘Wasting Away’ by Nothing Speaks immediately sets a melodic heart in place, and even after branching out to share a few twin lead guitars with an 80s bent, the Scottish band’s gifts for a very accessible sound remains in place. Following a grand intro, however, its all change, when a heavy riff and grubbier vocal take centre stage, and an obvious love for the mighty Alice In Chains cannot be ignored. This, too, is cool in its own way, since the featured riff comes loaded with a hefty amount of chug, and the dominant vocal has a huge confidence that more than sells this performance on its own. The earlier melodies make somewhat of a return with the help of a clean, melodic lead guitar break, but never quite in the same way. That said, everything here sounds superb. It’s one of Nothing Speaks’ strongest tunes to date and will certainly appeal to anyone looking for a something contemporary, but with a huge 90s influenced punch. You’ll definitely be hearing more from these guys.
Steady 90s beats, a punchy bassline, a soulful voice: three key elements that’ll immediately invite comparisons to the brilliant Joss Stone. That can only help Lexie reach a devoted audience with the brilliant ‘Plane Jane’, a busy soul drenched banger that peppers a superb vocal performance with equally cool bursts of brass, and features the kind of chorus hook that’ll really stick. Lexie’s approach here drives a twenty first century brand of soul rather comfortably, and the late arrival of a slightly bluesy guitar gives the arrangement an extra edge. It’s all great, but a couple of older musical nods really seal the deal. The fact that a closer ear appears to suggest influence from Gladys Knight and The Staples (allusions with the lyric for the former; a hefty hat tip within the musical arrangement for the latter) certainly won’t hamper this artist’s progress. A brilliant track.
August 2025