Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting tracks that have been submitted over the previous few weeks. This time around, there’s some perfect dream pop/indie sounds, a huge stoner friendly piece of deep psych with a heavy edge, some AOR, a superb track with a jazz influenced vocal…and more besides. As always, we hope you find something new to enjoy!
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After making a long overdue return in 2025, Aussie dreampop band Howling Bells found themselves very quickly on a roll with the help of a couple of superb singles. Heading into 2026, their quality threshold remains very high with ‘Melbourne’. The track is a little more upbeat, at times sounding a little like something from Jenny Lewis’s earlier years, but fans will still be entranced by a couple of Howling Bells hallmarks, namely a thoughtfully placed ringing guitar offering a great counterpoint to a breathy vocal and an all round optimistic feel that makes some old school indie vibes appear surprisingly fresh. Simply put, this is wonderful, and if you have even the faintest liking of Howling Bells, you’ll be absolutely drawn to this song.
During the last months of 2025, singer songwriter Celeste Corsano released some very interesting singles blending pop, new wave and arty tendencies. ‘Space’, her first offering for ’26, is a little more sedate with its piano base, acoustic guitar accompaniment and waltzing time signature – something that leans very gently upon early Tori Amos works – but it’s a track that’s overflowing with great melodies. The way Celeste’s voice weaves in and out of the piano lines sounds great, and some gently jazzy basswork forms a great melodic core on a surprisingly accessible tune. Those hoping she’ll branch out into something more distinctive get their wish too, when the middle of the song explodes with multi-tracked vocals and shares an influence that ventures a little further into jazz influences. This sounds like a few very different ideas cemented together with the aid of a great vocal, but it all works brilliantly. A new track from Celeste always brings something interesting, but in terms of a complete showcase,‘Space’ manages to bring together most of the artist’s key influences within a very smart four minute package.
‘Ash’, the current single from Polish psych/desert rock band Weedpecker, is in no hurry to make a statement. Instead, the number opens with a soaring lead guitar placed over a waltzing rhythm in a way that fuses classic desert rock tones with a classic 70s prog heart, as if the band were an extension of Yawning Man. Even though the melody doesn’t move far from its original source, the gradual addition of fuzzier guitars and a rockier drum sound definitely lends the extended instrumental introduction a feeling of movement. After a couple of minutes, heavier riffs emerge, first sharing a classic stoner infused crunch, then intercutting that with a cleaner sounding, almost trad metal-like lead. The contrasting styles work brilliantly, and the addition of a blanket of keys brings a much fuller sound. A heavily treated vocal weaves in and out of the heavier sounds, perfectly judged to bring a psych-y edge to the performance and a link with the intro, and at the track’s peak, Weedpecker sound like a riff laden force. With the heavier moments sounding like a cross between A Perfect Circle and Acid Mammoth with filtered voices, entertainment for stoner/deep psych fans is pretty much guaranteed.
On this swiftly delivered follow up to ‘Lap It Up’, Calfornia’s Black Mariah channel the 90s with immediate effect, ‘Aqua Teen Grocery’ is incredibly punchy: the track’s riffs latch onto the sounds of a couple of the era’s lesser heralded grungers, mixing those with a huge chorus melody that sounds – at least riff wise – like a call back to the Foo Fighters debut. That’ll be enough to win the band some very keen ears, even it’s soon clear that this single works purely on those great riffs, as the vocal is half buried and so gruff that the finer points of the lyric are lost in the end mix. As things progress, it becomes obvious that this doesn’t actually matter; Black Mariah attack with such a huge, nostalgia drenched sound that ‘Aqua Teen Grocery’ works anyway, sharing the sound of a band unafraid of really cutting loose.
German sleaze rockers Night Laser serve up a massive riff at the heart of ‘Thin Ice’ – falling somewhere between ‘Dr. Feelgood’ era Motley and the heavier end of Skid Row, circa ’91 – then load up a catchy chorus with a world of harmonies, throw in a couple of fretboard melting solos and a pointed lyric, and create something that behaves like the grunge movement was just some plaid covered, grubby-arsed dream. A massive lead vocal driven by melodic metal tones gives the track an even bigger sense of the old school, overall, this musical love letter to the late 80s is perfectly executed. ‘Thin Ice’ certainly isn’t fashionable, but when it comes to nailing classic sounding hard rock/melodic metal, it’s a four minute banger that manages to sound like a massive throwback in the best possible way. The fact that this comes with the kind of production values that so much melodic rock and glam lacks at the time of release really doesn’t hurt either…
The opening notes of ‘Growing Pains’ by Anaïs & The Hoops might suggest a semi lo-fi, acoustic workout, but the arrival of a superb vocal twists this track into something very different with immediate effect. In contrast to the understated music, Anaïs shares a vocal that’s positively radiant. Having spent time honing her talent in jazz clubs, this track carries through with the jazz influences the vocal department, with a delivery that is big, but never overbearing. By utilising confident, curling notes tinged by a Billie Holliday-esque affectation in places, Anaïs captures a classic, distinctive style, and although initially it seems a little at odds with the musical arrangement, by the time the music shifts a little further towards retro pop, everything sounds superb. The EP of the same name features a couple of punchier sounding tracks, but if this happens to be your introduction to Anaïs and her band, you couldn’t ask for anything more enjoyable.
A mix of indie rock guitar tones and post punk rhythms creates an ear-catching intro for Fast Money Music’s ‘Unfortunately’, but it’s actually a very natural sounding vocal that really seals the deal. The way the voice darts between some of the track’s sharper edges without losing its flow forms some great indie rock melodies throughout a radio friendly four minutes, while a really simple hook ensures the great sounds also come with an infectious edge. Occasionally sounding like Thrillhouse with a little extra punch, this will be a must-hear for lovers of bands like The Cribs and Projectors.
Seven years after their last album, Italian melodic rock band Mindfeels are gearing up to release their second long player ‘2WO’. The current single gives a really great indication of their sound, and with its mid tempo approach driven by crisp toned rhythm guitar work, the band take their audience straight back to 1987. The music may be crafted from classic AOR influences, but its the vocal that really shines on this track, with David Gilardino adding perfect soaring tones throughout, but sounding even better when joined by well arranged harmonies. For lovers of bands like Lionville and others keeping the melodic rock dream alive in the ’20s, this track will be a genuine treat.
January 2026