Welcome back to the Real Gone Singles Bar, the place where we explore some of the individual mp3s that have landed in our inbox over the previous few weeks. This time around, we bring you the return of some ska legends, a remix from a cult dream pop act, something with a huge electronica/dance core, some massive stoner/doom riffs…and more besides. As always, we hope you find something new to enjoy!
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In 2016, David Pattillo released ‘Raised On Rock N Roll’, his second album under the Strange Majik moniker. The record cast aside all of the rap elements from the debut, and some of the funk, but in playing like a journey through the best 70s record collection in the world, its strong influences from Leon Russell, The Allman Brothers Band, Sly Stone and Todd Rundgren showcased a musician with great taste and a very broad talent.
In the second half of 2023, following a handful of digital singles, alternative rock band Pollyanna Blue released their long anticipated debut EP. It did not disappoint. With four songs melding the sounds of 90s grunge with the light electronica of bands like Metric, the material had a brilliant crossover sound, but with very conscious lyrics dealing with themes of depression and other mental health issues, it also had an edge that some new, young bands lack.
With its stomping rhythm, massive glam rock infused guitar chords and rousing vocal, Silveroller’s debut single ‘Hold’ immediately marked out the band as one to watch. There wasn’t anything particularly unique about the track, but it was a near perfect example of great musicians taking an old sound and recycling it with a lot of charm. With that followed by the mellow ‘Come On, Come In’ showcasing the flip side of the Silveroller sound, there was definitely a feeling that their upcoming debut EP might be something rather special.
Towards the end of 2023, Australian duo Ellen May released ‘Dying To Live’, a two track download that introduced the world to their classic brand of pop punk. Hugely indebted to ‘Goodbye Astoria’ era Ataris and early Sum 41, the material often felt nostalgic, but there was something rather wonderful about their unfussy approach. They clearly understood there was still a market for straight pop punk without the unnecessarily heavy moments that have coloured the punky subgenre post-2012.