Tag Archives: metal

Real Gone’s End of Year Round Up 2015

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We’ve reached the end of 2015. It hasn’t been as thrilling a year for new music as 2014 had been, but there has been plenty to entertain. We’re still waiting on the proposed deluxe edition of Prince & The Revolution’s classic ‘Purple Rain’ (we could be waiting a long time) and those promised UB40 deluxe editions. Another year has passed without the arrival of Real Gone favourite Mick Terry’s second album. Lots of people in the UK have been (over)-excited by Steven Wilson’s ‘Hand.Cannot.Erase.’, but most of what’s impressed us the most at Real Gone – as is so often the case – is often just a little more underground.

Here are our year’s top picks…

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MOTÖRHEAD – Inferno

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infernoIn 1991, Motörhead realeased the album ‘1916’, an album on which they sounded more alive than they had in years. The songs were sharper than their late 80s efforts and the band sounded like they’d regained a lot of their spark. There was a surprise too: the title track was a cello backed ballad, where Lemmy crooned about young men joining up to fight for king and country in the First World War. Nobody saw that coming…and they say you can’t teach old dogs new tricks.

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DIRE WOLF – Black Death EP

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dire wolf epAs much as their choice of band name might suggest, Brisbane’s Dire Wolf probably don’t have much time for the Grateful Dead’s brand of Americana. Formed in 2011, the band’s chief goal was to become one of the city’s heaviest bands – and if they couldn’t claim such a feat previously, their 2015 EP release ‘Black Death’ must set them pretty close. In just under twelve minutes, the band lay down a brutal hardcore sound, uncompromising yet thrilling, in a manner that fuses influences from Dillinger Escape Plan with a whole lot more besides.

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MERCY BROWN – Mercy Brown

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mercy brownMercy Brown’s debut album is a sledgehammer of a release. This Washington based band clearly aren’t keen to mess around; while not always the easiest of listens, this first full-length comes loaded with riffs the size of juggernauts, a production value so entrenched in bottom end that even the biggest riffs sound bigger still and their pneumatic rhythmic assault that’s like being repeatedly slapped in the mouth. They’re very much advocates of metal with a capital M and appear to have no time for the moulded and more mainstream bands that have so often filled the metal TV channels like Scuzz during the previous couple of years before this release.

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