Welcome back to the Real Gone Singles Bar, the place where we explore some of the individual tracks that have landed in our inbox over the previous few weeks. As usual, we’ve received a huge amount of submissions – this continues to be one of the most popular aspects of our website – and we’ve picked eight tunes that we feel captures the true spirit of the great sounds floating around the underground as we move squarely into a cold, northern hemisphere autumn. Among other things, there’s a 60s cover from a familiar name; some brilliant indie pop; a pleasingly downbeat number with some great orchestration, and a country influenced track from a superb singer songwriter. As always, we hope you find something new to enjoy!
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When it comes to “quirk”, on their current single ‘I Don’t Know’, Laptop really aren’t holding back. From the opening bell like noises, through its quickly delivered harmony vocal, via the presence of a ghostly female counter melody and ultimately into the heart of the track, the listener is kept entertained, riding on the crest of an unexpectedly buoyant tune. Like one of Beck’s ‘Odelay’ era bangers as heard through an OK-Go prism, this attacks its audience with a busy, multi-layered arrangement that sounds absolutely superb from the get-go. Unlike some other rather spirited indie tunes, though, this isn’t a case of style over substance. A couple of plays will also uncover a catchy as hell hook, where a deeper vocal shares something that actually invites its audience to sing along like no-one is listening. Released at a time when the ’net is positively drowing in superb digital singles, this is one of the best things Laptop have shared to date.
The use of programmed rhythms could’ve led to something that sounded a little detached, but it doesn’t take long for Geneviève Racette’s ‘Common Denominator’ to spring into life. Presenting an adult pop heart that beats strongly, with the help of a Fleetwood Mac-esque bassline colliding with the more contemporary sounds of Emily Austen and Daphne Brixton, Racette finds a space where a sophisticated pop backdrop gives her a great opportunity to share a superb vocal. From a couple of lines in, her clean, yet slightly warbling tone takes centre stage, and armed with a personal lyric where she admits to sharing an ex’s “darkest secrets”, she takes on the mantle of the confessional performer in a way that feels bold, but never spiteful. Although this dispenses with the folky elements that are present on some of her softer numbers, the move towards a more pop-centric sound is a positive one, since it’s likely to help Geneviève reach a much wider audience.
Throughout the brilliant ‘I’m Very Feel’, It’s Irrelevant have been unafraid to mix massive pop punk melodies with more complex elements. The crunch of the music occasionally recalls peak Sum 41, and the jubilant sound of a massive chorus taps into a world that owes a debt to Fall Out Boy’s ‘From Under The Cork Tree’ album, but scratch beneath the surface, and these three minutes serve up something more interesting. There are moments where the melodic punk is offset with furious stops and muted riffs, almost like someone within the band has post-hardcore interests, and there’s even a brief nod to something even heavier when a few double bass drum pedals drop in. The crunchier elements aren’t quite as forthcoming as those on the band’s earlier ‘Rearview’, but they’re still dominant enough to show these London lads are a cut above your typical emo/pop punk crew – and have the potential to really stand out.
The ringing guitar that opens Micah’s ‘Cry’ suggests influence from a classic indie pop track, but things quickly take more of a pop detour when the Irish singer drops in with a clean pop vocal set against some sizeable programmed beats. This single then begins to sound like a throwback to the great adult pop of the nineties, with echoes of Natalie Imbruglia and the underrated Billie Myers. Micah doesn’t sound like either vocally, of course; this track allows her to share a broad and distinctive voice of her own, with slightly deep tones that compliment the semi-mechanical arrangement brilliantly. In terms of adult pop, this is well made, but ultimately a slowburner; it’ll take a while before the key melodies genuinely sink in, but once they do, the soaring vocal that drives a confident chorus will more than make its mark.
Taking a sidestep from conventional adult pop, Serious Child’s ‘Dawn On The 33’ takes inspiration from the Georgian lullaby ‘Iavnana’ and weaves a mournful melody into something quite striking. A waltzing piano melody sets the mood and tempo; occasional cello sounds add an equally downbeat accompaniment without ever dominating the piece, and taking the perfect, almost understated approach, a crooned vocal lays a sad tone that constantly draws the ear. This results in something that’s sophisticated, but never showy. As things progress, the orchestral elements increase a little, but are still clearly aware that the piano and voice should remain the essential focus. At least that’s the case until the climax, where the strings take centre stage and make Serious Child sound more like the wonderful Eskina. For something so potentially glum, it’s interesting that the band have decided to break things up with a surprisingly catchy hook. From first listen, the refrain “sleepy head, where’s my bed” really sticks, making this a must-hear.
Hailing from the South West of England and now making Bristol their creative home, Chasing Dolls have an interesting sound. The clean, busy guitar lines that flow through the verses of ‘Cobweb’ suggest a love of great indie fare – particularly with a 90s vintage – but the busier drum parts lean a little further into a post hardcore punchiness. Linking the two extremes, the track boasts a chorus loaded with overdriven guitars that sit somewhere between post-punk and emo, giving the arrangement a slightly aggressive yet accessible edge. A scratchy vocal will certainly split opinion, but this too, helps the band stand out in a crowded field of alternative acts at the time of release, and once you tune in, the unfiltered emotion coming through the song’s louder moments is definitely set to create a reaction.
Continuing a run of impressive singles, Rianne Downey’s ‘Heart of Mine’ confirms the singer songwriter is very much a “talent to watch out for” as we head into 2026. The track’s first verse has a slightly dark feel, with a blanket of organ running through the centre and set against a slow beat, but it shouldn’t be considered downbeat. Downey’s lead vocal has an aching optimism and a bright tone that’s huge enough to offset the music. Hitting the chorus, things pick up with a steady beat and some absolutely fantastic orchestration, and with that, the singer songwriter explores more of a country sound. It should be melodic enough and come with just enough of an underlying pop-rock feel to even appeal to the country averse, though, and no matter where the music goes, Rianne sounds absolutely terrific. With a semi bluesy lead guitar break added to an already great arrangement, this is a definitely a track with a timeless feel.
Last up, here’s something fun from a familiar act. Power poppers The Dollyrots have taken Lesley Gore’s ‘You Don’t Own Me’ and added their own twist. From the outset, the recording comes loaded with chopping guitar lines that feed directly into the ’Rots core sound, and Kelly Ogden’s sugary lead vocals are unmistakeable. This isn’t just The Dollyrots by numbers, however: no matter how much of a punch they’ve applied to the music, the vocal melody clings firmly to the original arrangement, allowing this to still sound like something that comes from the world of the ‘It’s My Party’ hitmaker. In the hands of The Dollyrots, this track not only sounds really sparky, but also deserves to bring its message of empowerment to a new audience.
October 2025