When Brockley Forest released their ‘Die Has Been Cast’ EP in 2015, it felt as if the band had reached a turning point. While the raw garage blues of their previous releases still provided the heart of their music, the EPs songs showed a leaner, meaner Forest – slightly more commercial without selling out; by providing bigger hooks on bigger songs, they really stretched their musical talents. Following a long gap between releases, Brockley Forest’s welcome return with 2018’s ‘Castaway’ is a step forward yet again. The production values on these three songs are terrific. Far removed from a garage based labour of love, the material has as much punch as that Royal Blood LP you all love – even though there are better exponents of that style – and the choruses are more than sizable.
It’s been approximately three years since the world had a new studio recording from Brockley Forest. The band’s third EP, ‘The Die Has Been Cast’ was their biggest sounding to date, but the long awaited follow up, if anything, is even better.
Real Gone favourites Brockley Forest have a new video out for their track ‘Rubicon’, which you can view in full below.
They’ve been friends forever; they’ve toured America; they’ve supported Honeyblood and released a couple of excellent EPs – a self-titled disc in 2013 and 2014’s ‘Second Nature’ – and yet after years of sweating it out, Bristol’s Brockley Forest are still very much an underground act. Their third EP, 2015’s ‘The Die Has Been Cast’ not only marks a welcome return, but also showcases a much broader musical spectrum than anything the duo has committed to tape previously.
Reappearing at the beginning of 2013 after a brief hiatus, Brooklyn’s End Men made a big statement with their second LP ‘Play With Your Toys’. From that point on, there seemed to be no stopping the blues/garage rock duo, with live shows aplenty following – including a recorded appearance at CXCW – and a quickly released compilation of odds and ends filling the gap until their next studio bookings. Released seemingly weeks after their last recordings, ‘Terms & Conditions’ picks up exactly where you’d expect, with the gravel-voiced Matthew Hendershot weaving tales of woe and drunken forboding while percussionist Livia Ranalli plays by the seat of her pants. With such a quick turnaround of material, are The End Men in danger of burning themselves out? On the basis of their 2015 release, it’s a case of anything but…