Welcome back to the Real Gone Singles Bar, the place where we explore the various individual mp3s that have landed in our inbox over the previous few weeks. Usually, we aim to make the Singles Bar as varied as possible but, due to timings and submissions, this selection is rather more rock based. We hope you’re on board with that, especially given the amount of rock music that gets covered elsewhere on the site. An effort has been made, however, to try and bring an interesting variety within those rocky singles, which hopefully gives this SB a typically eclectic feel. This week, we’d like to welcome back Pollyanna Blue, but also draw your attention to a brilliantly haunting track from Lisa Cuthbert. Elsewhere, you’ll find shoegaze inspired noise, a brilliant cover tune, and a couple of singer songwriters… Until next time, we hope this keeps you entertained!


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RUSSIAN BATHS – Done And Dead / Rise Again

Russian Baths first appeared on the alternative music scene back in 2016 with a two track release pairing their shoegaze anthem ‘Ambulance’ with the slightly more melodic indie/goth workout ‘Ghost’. It was immediately clear that the Brooklyn based duo were well versed in some great retro sounds, since the tracks conveyed a massive love for Jesus & Mary Chain, as well as slightly more melodic 4AD fare like Cranes and Slowdive. They were the kind of band that older indie fans could take to heart with immediate effect, but although their sounds drew strong links with a shoegaze past, they also seemed like a band who – much like A Place To Bury Strangers – would be able to take such heavily distorted drones seem wholly relevant in the present.

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Russian Baths share new track ‘Parasite’

US noise rockers Russian Baths have issued a new digital single this week.  Entitled ‘Parasite’, the new track cranks up the guitars in a way that recycles a love for old arty, shoegaze inflected noise.

It’s overall feel should appeal to those who loved My Bloody Valentine in the early 90s and have more recently fallen for the charms of the more melodic end of A Place To Bury Strangers’ distortion drenched output.

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