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. Our popular feature continues to gain attention and we’ve had a flood of submissions this week. Picking a few of the best, as always, we’ve attempted to bring you a variety of sounds, from punky power pop to a soul/rap crossover, from indie rock to an unexpected Japanese arty piece. Hopefully, these choices capture the quirkiness we always aim to bring…and we hope you find something to enjoy!
Welcome back to the Real Gone Singles Bar, the place where we take a look at some of the individual mp3s that have landed in our inbox over the previous few weeks. Despite January traditionally being a quiet time, we’ve gathered a few great tunes this time around, capturing some of the typical SB variety, ranging from huge rock riffs, to a goth laden throwback, and even a tune with its heart firmly in a Laurel Canyon past… As always, we hope you’ll find something new to enjoy.
Throughout their career of making alternative instrumental sounds, Swiss quartet Lilium Sova have never become musically stagnant. With each record, their art rock meets post metal has dug deeply into a world of musical freedoms. Whether working a grinding bass riff and atonal woodwind on a number worthy of Mike Patton’s Ipecac label (2012’s ‘2.00 AM Insomnia’), indulging in a sound that feels like a Mask of Bees demo reworked by Al Jourgensen (2008’s ‘Moose’) or even delving into the murky musical waters of sludge metal tempered by a strange blackgaze sheen (2016’s ‘Ofkaeling (Valley 6/6)’, their world of noise is never less than fascinating.
Formed in 1993, Larsen are an experimental band from Italy. Their members have managed to keep a fairly low profile over the decades, but that didn’t stop their 2002 LP ‘River’ achieving critical acclaim in both Europe and the States. In 2008, the band were joined by Ann O’Connor (aka Little Annie, aka Annie Anxiety Bandez). Little Annie, a New York performance artist – formerly of Asexuals and known for collaborations with Current 93, Nurse With Wound and Kid Congo Powers – gave the band an extra dimension when adding spoken passages to their disjointed sounds.
Eagerly awaited by fans, their 2019 EP ‘Tiles’ ends a three year recording silence. Its four tracks teeter between darkly gothic and just plain difficult, but it’s often it’s more than possible to understand where this avant-garde/art rock collective are headed.
Beyond calling it “art metal noise”, the music of Plecto Aliquem Capite is hard to define. It’s been called “next level black metal”, but it’s often hard to hear how such a claim was made. The four tracks on their 2016 EP ‘The End’ have a few black metal traits in some of the riffs, but that’s all. ‘The End’ presents the worst excesses of art metal, of avant garde clanking and of general ugliness. It’s possible to suggest that even those who like a musical challenge will be affronted by most of what’s being offered here.