There probably aren’t many places where you’d be introduced to an industrial banger, a 60s inspired tune from an Americana duo and an R&B cover of a world famous Beatles track in quick succession, but this visit to the Singles Bar will give you exactly that…and more. We’ve also got a recent record from a brilliant goth-pop duo, another single from an up and coming singer songwriter, and even a weird detour into spooky things. As always, we hope you find something new to enjoy…
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Released in tandem with their collaboration with Delerium, Magic Wands deliver another absolute banger with ‘Guardians’. The second track to preview their upcoming album (scheduled for early 2027), this single goes hard for an 80s vibe – and with superb results. The mechanised beat comes straight from The Cure circa ‘A Forest’ and shimmering guitar lines are on loan from early Sisters, but somehow, the borrowed elements come together to power a light goth-pop melody that is pure Magic Wands. This is obviously helped by a prominent vocal throughout, and although drenched in reverb and filters, Dexy Valentine serves up something that sounds accessible and vaguely sultry, applying an almost otherworldly presence to a melody that’s rooted within a classic sound. Although fans won’t necessarily find the duo breaking any new musical ground here, ‘Guardians’ is a fine reminder of why Magic Wands continue to be one of the scene’s best bands.
David O’Hara’s ‘Back To The Sea’ shares a fine blend of indie-pop and folk rock. A relentless semi-acoustic riff charges forth throughout the track, setting a brilliant jangle in place that provides a solid base for a very melodic vocal. Delivering clean tones throughout, David questions the idea of attempting to move on, but ends up crashing into the sea; buoyed by friends, he finds the solace he’s after, and the reflective lyric is brilliantly contrasted by an arrangement that has so much energy you can’t help but love it. This is very much the kind of track that will send listeners in search of other recordings from an up and coming artist.
By coupling a very retro riff with a fuzzy tone, The Makeouts grab the listeners’ attention immediately on ‘Shake You’. There’s a definite 90s vibe on this single, with the heart of something much older pulling together to share a strong melody that’s very familiar. The arrival of the vocal brings a slight curveball since, instead of the expected rough, rock-centric voice, the music is joined by an odd croon, sharing something slightly gothier than the music needs. Allowing time to adjust, this not only works, but makes this track striking in a very natural way. A simple hook does a lot of heavy lifting in terms of memorability, but a fiery lead guitar break also shows how much power lurks within The Makeouts’ sound. All guts and no fuss, this is the kind of single that becomes unexpectedly catchy and could even bring new fans to the band.
Although predominantly an Americana act, there’s a lot about Goldpine’s current single ‘Not Holding On Anymore’ that fits more squarely with some great 60s pop-rock influences. Throughout the number, a slightly reverbed guitar latches onto a busy jangle, and the punchy tempo that’s quickly set in place is a perfect fit for an energised vocal. That too, with its layers and harmonies, comes with a very 60s feel throughout, and the featured voices blend together perfectly. The main hook is a simple one – perhaps a touch too simple – but that, too, feels pleasingly direct, hitting from very first listen. This is a world away from the mellow country-folk blend that drove their single ‘You Say’ from 2025, but it’s very much the kind of track that could appeal to new ears.
Industrial act Alien Faktor has returned. It’s been 28 years since the last AF material was released, but this long overdue comeback isn’t misjudged or in any way out of step with a different world. If anything, ‘Hanging By A Threat’ shows that Alien Faktor are sharper, angrier and more uncompromising. For the bulk of this new cut, a deep synth drone that’s manipulated into bursts of pulsing noise brings a 90s club sound into the present, while a selection of programmed beats tap into a classic industrial assault. Sounding like KMFDM at their most furious crossed with Skinny Puppy, this will be an instant smash with fans of the style, even without taking a wealth of superb samples into consideration. There’s only one real fault here: falling just shy of five minutes, it feels a little too short, especially given that there’s such a long intro in place.
Here’s a genuine oddity. ‘Baobhan Sith’ by The Pert Directive doesn’t fit neatly into a genre. It features fractured melodies that hint at goth, dropping between a grinding post-rock bassline that feels more art rock-centric than the typical post-rock sounds. Haunting melodies are presented via a Bontempi organ, lending a very late 90s inspired track a feeling of 70s kitsch, while all vocals are supplied by samples and other found sounds. More of a collage than a song, this is a spooky treat that manages to work, despite never taking the easiest or most commercial of musical routes.
A new band with an older and classic sound, The Boffey Article introduce themselves very confidently with ‘Not Feeling Myself’. The track’s opening riffs capture a slightly grungy edge, but also call back to the period in early 1991 when a lot of big haired rock and glam bands were toughening up. This gives the number a solid base, even before the vocal kicks in. With a hint of grubbiness and a faint echo of Ed Vedder, that voice brings TBA a little closer to sounding like a post grunge act, but the heart of a classic sound continues to beat strongly, especially once an old school lead guitar break kicks in. A direct chorus hook gives this short number an extra punch, resulting in a listen that, although not completely original, has enough of a spark to make listeners want to hear more.
Last up, here’s a brand new take on a track that’ll be familiar to almost everyone. Kicking off with strident piano notes and echoing vocals, Tricey.R. & KevE’s rendition of The Beatles’ ‘Yesterday’ immediately sets up something with a spacious and soulful sound. Breaking into the body of the song, the duo have taken some bold steps, introducing a pulsing bass, huge sounding finger clicks and a blanket of synths to steer the ballad in a defiant R&B direction, making the results sound more like late 90s/early 00s fare from Eternal and Aaliyah. The music sounds a touch synthetic in places, but the power and sadness in Tricey’s vocals sell the performance fairly easily. Purists will hate it, but there’s something here that still works, such is testament to McCartney’s gift for a melody.
November 2026