Over the past year or two, Claude McCan has been busy. In addition to releasing several singles and an album under his Claude9 moniker, he’s also gigged with Bowie tribute Supercreeps, and also worked with lounge act 35mm.
Seemingly a man who never rests, he’s now back with Xanimal, a band that blends synth elements, ambient dance sounds and a pinch of a dreampop aesthetic to create something with a huge 90s vibe.
Lili Refrain’s fifth release ‘Mana’ was an interesting proposition. The record’s nine compositions drew influence from a variety of styles. The opening couplet (‘Ki’/‘Kokyu’) set a fairly cold mood by mixing light drone with choral vocals; ‘Eikyou’ featured strong, soaring vocal lines against heavy tribal influenced rhythms; the much darker ‘Ichor’ shared a vocal mantra shifting between the gothic and operatic, augmented by orchestral sounds via heavy synth work, only allowing finger cymbals to bring any lightness to the piece. Better still, and slightly more accessible without shifting too far away from Refrain’s sense of the artistic, ‘Ahi Tapu’ occasionally sounded like early eighties Tangerine Dream fused with a Brad Fidel film score, topped with whispering Japanese vocals, and latterly another neo-operatic melody that showed Refrain in possession of a huge voice.
With ‘Up & Away’, Dragon Welding released one of 2025’s greatest singles. The track’s mechanical heart combined with a repetitious hook created something so insanely catchy, it became impossible to resist. It was certainly one of those tracks that stayed with the listener long after it ended, setting up great hopes for its parent album ‘The Naughty Step’.
In itself, ‘The Naughty Step’ brought lots to enjoy. Although the bulk of the record wasn’t anywhere near as instant as ‘Up & Away’, its best material had a little more of a commercial edge than previous Dragon Welding works, taking the synth based sounds of one of the UK’s most cult bands into more melodic places.
A rather spooky offering from veterans of the UK alternative scene, an epic but self-effacing narrative set against great orchestration, and an almost uncategorisable number splicing synths with a world music flair are just three things you can expect to find at the Singles Bar this time around. As we head further into 2026, the sheer variety of “single” recordings remains impressive, and perhaps ever more so now that we live in a world where underground artists are more likely to present digital singles and EP releases over an old school album format. To call this selection a mixed bag would certainly be an understatement but, as always, we hope you find something new to enjoy…
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Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting individual tracks that have landed in our inbox over the last few weeks. This time out, we’re pleased to share an absolutely cracking debut from some Scottish indie rockers, an uncategorisable recording that fuses at least three different genres, and even find some old favourites taking a massively unexpected approach. There’s also a slab of garage rock, some synth imbibed pop and a different approach to power pop to be found along the way. As always, we hope you find something new to enjoy!
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