As part of the ongoing promotion of her critically acclaimed 2017 EP ‘Shelter’, singer-songwriter Charlotte Carpenter takes her very personal sounds and style to mainland Europe in March.
As we head into a new year at Real Gone, we’re committed to our ongoing voyage of musical discovery…and we really hope you’ll join us for the ride. Our inbox is bulging with new promos and we’re ready to share our opinions with you all.
Before we set off, though, here’s a quick look forward. There will be a lot of musicians either coming up through the ranks or making their first important musical statements throughout ’18 and – as always – we’ll do our very best to champion some of the more interesting but, in the meantime, here are our five picks most hotly tipped to either make the leap to bigger things or release favourite tracks. Continue reading
A yearly tradition, the Real Gone Sampler is one of the most popular things in our calendar. In previous years, we’ve given away great music by Kurt Baker, The 1957 Tail Fin Fiasco and Black Moth. Every year, the project rounds up the very best in DIY acts and aims to get great music out to a new audience.
On occasion, we’ve even been lucky enough to give you two end of year samplers. This year, the download is only one disc long, but we bring you over seventy minutes of underground sounds. We’ve got dream pop, shoegaze, roots rock, garage rock, singer songwriters and a whole bunch more. It could just be the best Real Gone freebie to date.
As always, reviews for each album can be found behind the band name links.
Sleeve art designed by Elena Barrio.
‘Hey Mr Cowboy’ is a dark and haunting tune that is arguably the most striking number on Charlotte Carpenter’s upcoming EP. In keeping with the unsettling sounds, the new video clip also has a somewhat uneasy quality, which Charlotte explains:
Charlotte Carpenter’s 2016 release ‘How Are We Ever To Know?‘ was a deeply personal selection of songs that showed the British singer-songwriter unashamedly exorcising some emotional demons. The nature of the material didn’t always make it an entirely comfortable listen, but it was more than obvious Carpenter had a huge talent. The following year’s ‘Shelter’ brings more personal issues to the table, but tempers the hurt with more of a varied musical style.