Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting individual tracks that have landed in our inbox over the past couple of weeks. This time out, we welcome back an indie hero with a superb solo venture, celebrate some big, modern pop from a rather prolific artist, take in a couple of metal tracks and even make time for some classic sounding yacht rock. As always, we hope you like what you hear.
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In the summer of 2023, Dutch metal band Rise of The Wood released the ‘Sleep’ EP, an excellent three tracker that signified their long overdue return, but also a rebirth. Their first new music in six years, ‘Sleep’ was also the first Rise release to feature vocalist Leo Gstrein. His confident tones immediately outshone any of the work on the band’s 2017 debut and the music sounded much better all round. This suggested that band’s decision to take time out to regroup had been more than beneficial.
History of Guns man Max Rael has delivered one of 2025’s most interesting albums. By taking all of his electronica influences and fusing them with the spoken work aesthetic of his experimental project Decommisioned Forests, Max;s solo debut ‘The Enemy Is Us’ fuses a world of synth pop with strong 80s influences with touches of Kraftwerk which, joined by a world of slam poetry and introspective thoughts, to create a deeply personal record.
Personal it may be, but never in an exclusional way. There’s a real appeal in the material’s honesty. …And never more so than in the current single ‘Pressing Against The Glass’.
Bringing together members of B-Movie Rats, LaDonnas and Rum Bar Records’ signings The Hi-End, The Mochines are a no nonsense garage rock band featuring some of the genre’s old hands. Following a few years away, their 2023 release ‘Modern Information’ finds this group of friends sounding particularly energised, and on its best cuts, sounding even sharper than ever before.
Whether approaching an early Mudhoney aesthetic (‘MTV’), adopting a sound that blends the melodic indie of early Franz Ferdinand with heavier, almost grung breakdowns (‘Always Here’), delving into something much moodier and channelling Pavement (‘Sausage’), or throwing themselves head first into a world of minute long, punky bangers (the bulk of 2021’s ‘Ten’ “long player”), Das Kapitans often guarantee their audience a good time. For those who’ve followed the band since near the beginning, it’s been interesting to watch them grow.