Those keeping a close ear on the indie/shoegaze scene over the past year will almost certainly have encountered KEELEY. The eponymously named band fronted by Keeley Moss have played a truckload of live dates, and shared stages with Echobelly and Terrorvision. On a great collection of recorded works, Moss and her band have created a musical legacy surrounding the murder of tourist Inga Maria Hauser, giving their work a more emotive and often cerebral quality than your average shoegaze act.
Tag Archives: shoegaze
THE REAL GONE SINGLES BAR #128
This week’s visit to the Singles Bar brings a whole world of variety. Bookended by two genuine power pop bangers, this selection of tracks also takes in some really tight funk, a new track by a cult singer songwriter from Scotland, the long overdue return of a dreampop inspired indie band, a loving recreation of a cast iron classic…and more. As always, we hope you find something new to enjoy!
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The Astronauts share new video for ‘Ease Up’
On their current single ‘Ease Up’, The Astronauts deliver an unashamed love letter to the early 90s. From the moment the main melody hits, the layers of sound tap into a heavy indie/shoegaze sound that’s unmistakeably retro. The tune is also massively appealing, but it’s likely to require three or four listens before this becomes really obvious.
THE REAL GONE SINGLES BAR #122
Welcome back to the Singles Bar, the place where we explore some of the more interesting individual tracks that have landed in our inbox. This time out, we’ve got a familiar name taking a new musical twist, a couple of genuinely great pop tunes, a complex metal-centric banger from an up and coming act, and even a bit more jazz. Celebrating a variety of new sounds, we hope you find something to enjoy!
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AVERY FRIEDMAN – New Thing
Brooklyn’s Avery Friedman only began playing live shows in 2024, and didn’t spend years honing her sound before the recording and release of her 2025 debut ‘New Thing’, so the album’s songs still have an element of freshness and occasional naivete. You couldn’t call the material raw, though, or even suggest its potential has been sold short in any way. The best of the record’s eight songs represent brilliantly crafted indie pop, often sharing a sound that’s much older than Friedman’s years, but everything is presented in a hugely confident manner.