Clean Lines isn’t necessarily the best known name in punky circles, but the band have put in some hard yards on the live circuit in the US. They’ve shared stages with Me First & The Gimme Gimmes and The Kids, and have creative links with Geraldine Fibbers and Circle Jerks. They caught the attention of The Briefs’ vocalist Steve E. Nix, who eventually joined their musical ranks.
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Real Gone Presents: A Boston Round-Up, June 2025
Over the previous couple of months, the submissions for the popular Real Gone Singles Bar have been more than plentiful. It’s actually got to the point where we’re getting so much good stuff, it’s been almost impossible to keep on top of it all. When compiling a recent column, it came to our attention that we’d had a huge amount of submissions from Boston based bands. Since we were massive fans of albums produced by Paul Q. Kolderie & Sean Slade at Fort Apache back in the 90s and, in more recent times, our site has received regular support from a few Boston based bands, PR companies, labels – including the sadly missed Red On Red Records – it seemed to make sense to take some of these great tracks and highlight them in a feature of their own. The Singles Bar will continue as normal, of course…but this bunch of tracks, shared as a selection in its own right, features some great material. Please join us in giving a hearty shout out to a great city with a thriving music scene… As always, we hope you find something new to enjoy!
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MAX RAEL – Slightly Less Than Human / When The Only Winning Move Is Not To Play
Max Rael’s debut single ‘Brighter Future’ pushed the alternative envelope by applying spoken word passages to bleak sounding synth backdrops, creating an almost dystopian musical landscape. The number’s darker side was effectively offset by the History of Guns man offering listeners a positive lyric, where he suggested we can look to the past and learn from mistakes to forge a brighter future. Issued at a time when the world seemed incredibly negative with seemingly little escape from a political turmoil, Rael’s optimism – no matter how obtusely applied – offered fans of less mainstream music a small beacon of hope.
ECCE SHNAK – Backroom Sessions EP
The release of Ecce Shnak’s single ‘Jeremy, Utilitarian Sadboy’ in October 2024 marked a triumphant return for the most cult of art rock bands. Their first new recording in five years, the track shared something almost uncategorisable. Jumping from frenetic beats and rock riffs into post punk sounds, and eventually descending into a choir of voices sharing a warped carny melody, it packed more into three minutes than some bands manage over the course of entire albums. Their subsequent EP ‘Shadows Grow Fangs’ (released in February ’25) proved to be equally as inventive, sharing a half dozen numbers that seemed as keen to bemuse as entertain.
BAD VALENTINES – Memory Tattoos EP
It takes all of two bars of Bad Valentines’ ‘Last Days In The Sun’ to advertise the trashier end of this Finnish band’s rather varied rock sound, when a high toned guitar wails against a punchy backdrop. The immediate effect is like discovering a more melodic deep cut from earlier Scandinavian bands like Gluecifer, or a more pop-centic Hellacopters. Their rock ‘n’ roll chops shine even more brightly when a rousing lead guitar break rears up midway, but its when reaching for more melodic climes that this EP’s opening track really comes into its own. A punchy verse is offset by a hugely melodic and really confident vocal courtesy of scene new-comer Hon, and although she sounds great on the verse sharing more of a pop-rock tone than the music immediately suggested, it’s when hitting a harmony driven chorus she really begins to impress. It’s fairly simple with the band using an ascending melody to reach a one line hook, but the results are as catchy as hell. In terms of making a good first impression, this introduces Bad Valentines in the best possible way. It’s a genuinely strong number.