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 past few weeks. It’s a proper mixed bag this week, with the return of a multi-million selling singer songwriter, who is contrasted by a sharp edged alternative metal track; something that leans towards country rock, the return of a favourite pop vocalist and more besides…
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When Casii Stephen released her single ‘Can’t Handle Me’ in March 2024, it was immediately clear that the world was about to encounter a performer with a huge talent. It was also clear that in the two years since she recorded ‘Trust Fall’, the singer songwriter’s primary influences had changed. Whereas ‘Trust Fall’ – great as it was, and still is – played like a mellow variant of the 90s songwriters associated with the Lilith Fair festival, ‘Can’t Handle Me’ looked even farther back when searching for a groove. With a soul-pop backdrop and massive vocal, that three minute track was as big a homage to a soul fuelled past as an on form Amy Winehouse’s work, and Stephan’s vocal was almost as strong. Her voice also sounded about ten times bigger than its younger self. There was no doubt, this single would be the precursor to great(er) things.
Kill Lincoln aren’t necessarily the first name you think of when it comes to US ska punk and skacore sounds, but the band are among the scene’s hardest working and musically intense.
With two gigs taking place at the Dreamland venue, it’s a busy night in Margate. Most people are assembled at the Scenic Stage to witness a double headliner between Orbital and Leftfield, marking the end of this year’s big outdoor shows for the summer. A more select crowd have chosen to spend the evening indoors at the Hall By The Sea welcoming Ocean Alley, visiting heroes from Australia.
As guitarist and vocalist with progressive metal band Obsidian Tide, Oz Avneya is no stranger to crushing riffs and complex time signatures, but on his solo debut ‘Road To I’, the Israeli musician stretches his musical boundaries just a little further. The occasional nods to melodic death metal within his band’s work sometimes take a bigger role here, but to balance out any pure aggression, this album also explores a couple of far more interesting musical avenues. When not cranking the riffs, Avneya can be found teasing the listener with elements of world music, and there’s also a much bigger concession to melodic prog.