THE REAL GONE SINGLES BAR #29

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Welcome back to the Real Gone Singles Bar, the place where we explore the various individual tracks and mp3s that have landed in our inbox over the previous few weeks. This time around, the popular feature includes a couple of pieces of very strong pop with an electronica heart, a great melodic rocker with a blue collar tint, a tune with one of the catchiest hooks ever, a well arranged cover…and more besides. We hope you dive in, explore and enjoy – and, as always, please tell us if we’ve introduced you to something great!

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VARIOUS ARTISTS – Burn On The Bayou: A Heavy Underground Tribute To Creedence Clearwater Revival

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Unless you happen to be Robert Pollard/Guided By Voices or Buckethead and have a blatant disregard for quality control, recording and releasing eight studio albums over a five year period is probably really difficult, if not impossible. Creedence Clearwater Revival not only managed that task between 1968-1972, but in ‘Green River’, ‘Willy & The Poorboys’, and ‘Cosmo’s Factory’, they managed to deliver a trio of cast iron classics. The latter is an album still beloved by millions; a soundtrack to a generation.

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POLAR SON – Wax/Wane

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Formerly known as Porshyne, Brighton’s Polar Son know their way around a riff. On Porshyne’s 2017 EP ‘Environmental Music’, those riffs took an arty, sometimes heavy path, taking in elements of Oceansize, Tool and bits of Godsticks, beneath a vocal that sometimes shared a love of Thom Yorke’s grander moments. It was the kind of release that deserved to place the band among up and coming prog/prog metal acts. Unfortunately, despite champions in a few high places, any massive traction the band deserved was cut short by a global pandemic.

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AAWKS – Luna EP

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When it comes to riffs, power trio Aawks really don’t mess about. A cut above your average stoner rock band, their debut album ‘(Heavy On The Cosmic)’ did exactly what it said on the tin. Its eight tracks fused Sabbath, Kyuss and classic Monster Magnet riffs with a whole world of phased effects – applied to both the guitars and vocals – to leave the listener with the ultimate in fuzzy, buzzy, mind-bending wonderment. On tunes like ‘The Woods’ which combined driving stoner riffs with slower breakdowns and heavily treated lead guitars, and ‘All Is Fine’ which latched onto a rhythm that sounded like a distant cousin of ‘Silver Machine’, it was even possible to hear a huge influence from early Hawkwind bleeding through the slightly echoey vocals and head nodding riffs. With a touch of doom fleshing out ‘Peeling Away’, it was clear that these guys could do incredible heaviness too. Since almost every moment brought something exciting to Aawks’ chosen style, ‘(Heavy On The Cosmic)’ was potentially one of the finest heavy psych discs since Monster Magnet foisted ‘Dopes To Infinity’ upon an unsuspecting world in the mid 90s.

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MARC VALENTINE – Skeleton Key / Will You Still Love Me Tomorrow?

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Marc Valentine’s ‘Futura Obscura’ album, released during the death throes of 2022, tapped into a whole world of old fashioned power pop sounds. Its wall of guitars drew heavily from a world of early 80s heroes, but also from early Weezer, and Valentine’s hooky approach to songwriting ensured that a selection of huge choruses sounded great, whatever the era and however much his core sound relied on a throwback quality. His 2023 single ‘Jinx of Finchley Road’ went a step further in the infectious stakes by adding a world of tinkly keys to a marching beat, instantly shifting his retro pop from Weezer-world into a place where the ghosts of Jellyfish loomed with a largeness that was impossible to ignore. If Valentine hadn’t previously been on the list of power pop performers to look out for, this was a single that would certainly get him more of the attention he deserved.

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