Glenn Robinson’s 2013 full length ‘Modern Mistakes’ was a great release. Packed with punky riffs, hooky choruses and a touch of new-wave sassiness, its ten songs zipped past in an “all killer no filler” fashion, representing the very best the style has to offer. This three track EP – issued as a stop-gap release before his next long player – presents three previously unreleased tracks of a similarly high quality.
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Bridged Gaps and Covered Tracks (A Real Gone Sampler, 2013)
Welcome to 2013’s free Real Gone Sampler. It’s been an absolutely brilliant year for independent music – check out our end of year list here – and that’s been reflected by how many bands were keen to get involved in this now traditional project on its third anniversary. This year’s sixteen tracks (with a couple of strays from prior to 2013) came together remarkably quickly but, as always, there were a few obstacles along the way. It’s great that most of the bands we asked were on board instantly…and only one missed the deadline – an improvement on previous years.
Real Gone’s End Of Year Round Up, 2013
At the end 2013, things have settled even farther into their niche. When Real Gone was born, the intent was to write reviews of albums that ended up unloved in cut-out bins – the ultimate guide to creating a brilliant record collection on a budget. Pretty soon, a few DIY bands got interested and PR guys got interested and the focus began to change. It would have been churlish to turn these new opportunities away…and by including reviews of independent and smaller bands, RG slowly expanded its readership.
GLENN ROBINSON – Modern Mistakes
As ex-drummer with The Prozacs and various other US power pop/punk bands, Glenn Robinson has worked hard over the years. In addition to drumming with various acts and supplying guitars and vocals to his own 90s covers outfit, he’s also found time to kick off a solo career. His 2013 full length ‘Modern Mistakes’ is the kind of record that deserves to push him towards a wider audience; there’s absolutely no filler material and his abilities to bring variety to punk-based arrangements puts many similar acts to shame. Perhaps most impressive, though, is the fact that almost everything on the album is played by Robinson himself, with other guests only stepping in for the odd guitar solo or a few backing vocals here and there.