The REAL GONE Advent Calendar 2022

As 2022 begins to pull to a close, it seems almost unbelievable we’ve made it through another year in what feels like the blink of an eye. At Real Gone, we’re getting ready to bring you our highlights for 2022, but first, it’s time for our advent calendar!

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Christine McVie: 1943-2022

When people talk about Fleetwood Mac, they’ll often talk about the pop magic that both Stevie Nicks and Lindsey Buckingham brought to the band. As far as UK audiences are concerned, their appointment within the band’s ever-shifting ranks in 1975 brought the band back from a long stretch in the wilderness.

There are very few albums as well known as Fleetwood Mac’s multi-million selling ‘Rumours’, but there was always far more to the band’s “pop years” in the 70s than that omnipresent disc, its self-titled predecessor, and the adventurous ‘Tusk’.

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“It’s Not Our Fault…”: An interview with Get The Fuck Outta Dodge

At the tail end of 2019, Real Gone received an email requesting coverage from a band calling themselves Get The Fuck Outta Dodge. We had no idea what to expect. Within about thirty seconds of hitting the play button, it became clear that Dodge were one of the best bands we’d heard all year. Their lo-fi garage punk was never less than furious and in terms of a DIY set up, their then current EP, ‘We Make The Future Here’ raised the bar for independent noise making. We’ve followed their progress very closely ever since. In 2022, having survived a couple of years in a Covid ridden world, they found themselves in the studio with renowned Sheffield based producer Alan Smyth. In June 2022, James (bass/shouting) and Ren (drums/more shouting) dropped into Real Gone to talk about their whirlwind of work…


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Watch: Screaming Trees live in 1996 (full show)

When Screaming Trees visited the UK on the ‘Dust’ tour in 1996, it was very much a cause for celebration. Having already pulled out of that year’s Reading Festival line up and now having another hugely successful album under their collective belt, it was no wonder that fans absolutely joyous at their long-overdue return. In addition, ‘Dust’ was arguably their finest work to date. With its heavy elements counterbalanced by huge swathes of dark psychedelia and prominent use of mellotron, it was almost as if their retro sound had come full circle and harked back to the 60s inspired parts of albums like ‘Invisible Lantern’, but it also had the benefit of much stronger song writing.

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