When K7s debut album ‘Take 1’ appeared in 2018, it presented itself as an instant classic. In the middle of a pandemic of emo inflected punk, and a bunch of pop punk releases that had too much focus on the pop, the US/Spanish combo gave everyone a perfect reminder of the punk sounds they loved in the 90s. Its half an hour packed in riff after riff, drawing from Ramones, Screeching Weasel and The Apers, quickly setting itself up as an unmissable disc.
The world waited for ‘Take Two’. …And waited. Then, finally, at the beginning of 2021, the band returned with a new work, but fans would still be left waiting for a new disc of self-penned bangers.
Returning after three years away, Colorado punks Record Thieves released a long awaited new debut album ‘Wasting Time’ in 2020. A bright spark during a terrible year, the record quickly gained positive reviews from the punk press, with the Brooklyn Vegan website drawing favourable comparisons with legends like Face To Face and Millencolin. Continue reading →
Staten Island’s Goin’ Places first made their mark on the underground punk scene with the ‘Girl Songwriting’ LP in 2002. It would take a decade for follow up ‘Relationship Sneakers’ to hit the shelves, suggesting that the band members saw their musical ventures as more of a hobby than a career concern. It’d be a further eight years until the world heard from the band again, but frontman Richie Holes made up for lost time in 2020 by moonlighting as a member of 60s inspired garage rock band Gallows Birds. Although not really offering anything much for the Ramonescore fan, their ‘Quaranteenage Kicks’ LP band brought a lot of entertainment in its own way, with trebly production values and songs about Lambretta scooters supplying a very retro and fun listen.
Almost as if making up for lost time, Holes re-appeared as frontman with Goin’ Places a couple of months later. This three track EP appeared almost out of nowhere and although it’s essentially a prelude to a new album slated for ’21, ‘Better Things To Do’, it actually plays very well in its own right.
By the summer of 2020, the year had totally gone off the rails. The world had been almost blindsided by a global pandemic; cases of the bubonic plague were being reported in the far east; Australia had already been ravaged by bushfires; a strain of killer hornets had been discovered in the US and, by the end of July, Donald Trump was spoiling for a war with China. He’d already failed to have one with various other countries under dictatorships and – still running the country as if he were a sheriff in a TV western and the planet were his plaything – was obviously getting desperate. 2020 was dogged by so many disasters that it seemed nothing could actually surprise us any more.
It’s that time of year again when Real Gone takes stock of all of the great music that’s been sent our way over the last twelve months. Changes in how people consume their music has meant shifting from providing a free download to offering an album length stream, but the variety and quality of the new music remains very high.