This visit to the Singles Bar presents a near perfect slice of melodic punk, a couple of up and coming singer songwriters, another country number, and even an unexpected collaboration between a Canadian synth based project and a genuine cult figure. It’s another incredibly varied selection of tracks, but we’re sure you’ll find something of interest. As always, we hope you find something new to enjoy…
*
‘Into The Light’, a collaboration between Canadian electronica/dance act Delerium and arthouse musician Diamanda Galas, is a very interesting prospect. Casting aside their dance credentials, Delerium set about delivering a deep drone, as if scoring an imaginary movie, then pepper that with orchestral stings. From there, steady beats mark time, and fragments of vocal, courtesy of Diamanda, add spooked out atmospherics. It takes a while before any genuinely accessible melodies begin to emerge, but something a little more melodic begins to take a hold once things get underway. Eventually, Delerium opt for big, pulsing synth sounds to take the helm, offering something a little closer to a classic Vangelis work redressed for a contemporary audience, whilst Galas drops in various high pitched, neo-operatic vocals, still shying away from offering any lyrics. This isn’t an immediate hit, but it never pretends otherwise. Those really into broad, synth-based soundtracks will definitely find plenty of interest here.
Following the excellent ‘Colorado’, singer songwriter Pat Hamilton’s ‘Love?’ opens with a choppy, somewhat disjointed melody. The sharp guitar chords are a superb contrast with a smooth voice, and this really sets interest in a great pop-rock number. Once everything branches out and a few electric elements flesh out the arrangement, Hamilton adopts a solid sound which serves his personal lyrical style. With questioning lyrics digging into the aftermath of a night driven by alcohol leading to an intimate encounter, Pat doesn’t shy away from the awkwardness of guilt, but a really catchy melody balances everything nicely with a very commercial feel. It’s the kind of tune that makes it obvious how he got the Maroon 5 support gig, yet at the same time, the addition of a few new wave inspired keys bring a welcome twist to a familiar sound. This is another excellent single from the Scottish musician.
‘Forever Young’ by Jutebox is a thoughtful number. Opening with stabbed keys, the band set a slow ska/light reggae groove in place, which is absolutely perfect for a deep bass running throughout the track. A close ear on the bass will show off a superb production job, and the warmth of the music is very sympathetic to a very natural vocal. With a narrative exploring the human ability to cling onto the past and see that through rose-tinted eyes, the lyric is well matched to the old school arrangement. It’s all good, but it’s the final bars which finally see Jutebox cranking up the tempo that really sell the track. Launching into ska riffs that are easily comparable to the best moments of a 2-Tone past and, rather more specifically the best bits of ‘Ska ‘n’ B’ by Bad Manners, show a great band at full power.
The slightly bluesy guitar lines that open Martin Lowery’s ‘Feel This Way’ have vague echoes of Mark Knopfler’s solo works, and these lead parts are also used as an effective bridge between the verses, but never take on a major role. Lowery instead chooses to slink into a country pop arrangement where gently strummed guitars and steady beats provide a solid base for a vocal that rightfully takes centre stage. Delivering a superb country tone, the performer shares a lyric that tackles personal addictions and a hard road travelled. It’s very personal, yet never feels preachy, or as if the listener is intruding. Lowery strikes the perfect balance between reflective and accessible, and for those not into lyrics, a bigger chorus blossoms into something very catchy, tapping into a perfect light country melody that absolutely soars. For those who felt an instant attraction to the dobro sounds at the beginning of the track, they return to join an atmospheric coda in a way that makes this track feel as if everything has been brought full circle. Martin feels that ‘Feel This Way’ is the best thing he’s ever written. It’s certainly bordering on flawless.
The huge post-grunge riff that opens ‘Wish You Well’ by Breed 77 is anything but subtle, and the band use it very effectively to bolster an aggressive chorus and the track’s bridge sections. For lovers of the style, it should provide an instant hit. However, it’s the more subtle flourishes that make this single genuinely interesting. A double pronged lead guitar break mixes elements of flamenco with metal shredding, throwing in a couple of twin lead moments as musical glue, and a quieter verse blends solid, tribal style drumming with intricate acoustic work that brings together the disparate worlds of alternative metal and the Mediterranean inspired melodies the band have made their trademark. In some ways, this doesn’t break any obvious new ground for Breed 77, but they’ve rarely sounded better.
Catching the ear immediately with an intricate acoustic guitar riff, there’s an old heart that beats within Anthony Arya’s new single ‘The Dress’. The mix of light, airy music with tinges of a Laurel Canyon past and bright vocals sets a great sound in place, powerful enough to power the song’s most reflective moments, but a fuller sounding chorus – with echoes of melodic indie meeting with Fleet Foxes – pushes the vocalist into something a little more crowd pleasing for 2026, and allows the performer to adopt a much bigger presence. At that point, most people should be sold on the overall sound, but this doesn’t rest there: an even bigger climax swells to incorporate even more of a commercial indie-pop sound, providing something that’s massively radio-friendly. With a great blend of accessible melodies and heartfelt lyrics, this is the kind of track that deserves to bring Arya to a new audience.
French punks Dirty Fonzy have been touring Europe for two decades, which almost makes them scene veterans at this point, without becoming part of the punky “mainstream”. That said, their current single ‘Tiny Spark’ leans towards the more commercial end of things, with elements of melodic punk and pop punk colouring their sound. The ringing guitars and punchy rhythm that runs through the centre owes more to The Gaslight Anthem than the likes of Bad Religion, while a huge sounding, harmony drenched chorus comes straight from the Face To Face school of punk. With a few gang vocals punching through to bring a more aggressive edge and some sharp toned riffs creeping through in a couple of places, this is strong punk fare, and a few listens should uncover the kind of track that’ll sound great as part of a well curated punk-centric playlist.
Post punk/goth band Lowsunday are continuing the promotion of their enjoyable ‘Ghost Machine – Black’ with the release of an EP standout ‘Someone To Talk To’ as a digital single. Boasting one of the band’s most direct arrangements, the song kicks in with a rigid beat and some Peter Hook-esque basslines, creating a strong 80s feel. In many ways, the retro heart of this number creates something that feels like “peak” Lowsunday: the colder edges and repetitious melody are of a classic goth/post punk blend, and the way the vocal is used for extra instrumentation – offering a strong presence throughout, but rarely sharing audible lyrics – lends something slightly arty, rewarding with repeated listens. For those who’ve not yet investigated the full EP, this is definitely the kind of track that works brilliantly as a taster, making it a perfect choice for a single, no matter how long ‘Ghost Machine – Black’ has been out there in the wild.
September/October 2026
If you’ve enjoyed this, or anything else at Real Gone recently, please help us to stay online by buying us a virtual coffee at the link below. The cost of every cuppa goes towards our expensive yearly hosting bill, and will start to cover some of our expenses for 2027. Thanks x