Orlando four piece Debt Neglector’s 2018 EP ‘The Kids Are Pissed’ constantly treads a very fine line between angst and melody to bring six tracks that are often as big on chorus hooks as they are on riffs. For those who still lament No Use For A Name’s shift into a poppier realm (and subsequently their untimely demise), or love Hateful Monday, this is a must-hear.
In 2018, Real Gone celebrated its ninth birthday. It’s been a long and hard road to this point, but we’re pleased to be celebrating our most successful year online to date. Hundreds of new albums have been heard and a record number of gigs have been attended. Not only has this year been our biggest success…it’s also been our favourite.
Nearing the close of 2018, it’s time to look back and celebrate our favourite events – including our top ten album releases…
Normally, each year has an album that’s a clear stand out. Making that distinction this time around has been somewhat trickier, so we’re awarding a joint “album of the year” to two very different albums. If that seems like a cop-out, we don’t care…there really was only a hair’s breadth between them.
Vinny and The Hooligans’ 2016 EP ‘Late Nights’ was a reasonably enjoyable punk release that drew influence from the more accessible end of hardcore, Good Riddance and Screeching Weasel at their most tuneful. The recording was a little rough around the edges and Vinny’s vocal wasn’t necessarily the most perfect, but the charm in the songs often shone through. Two years on and with a bigger budget, ‘Don’t Give Up’ – a pointed message for so many DIY punk bands – is an improvement on almost every level. Stretching Vinny’s talents to a full release and a bigger sound, its ten songs cover a variety of punk styles, but whatever the outcome, it’s a record packed with big hooks and a lot of love for New York.
When people talk about British punk, first, they’ll invariably mention Sex Pistols, The Damned and The Clash. The breakthrough of a whole new wave of alternative music was never limited to the London suburbs, of course, and Manchester’s Buzzcocks were at the forefront of a whole musical revolution.
Detroit three piece The Stools take the guts of garage rock and pull at them until some of the uglier elements of the genre are the dominant force. Despite its title and despite their location, you shouldn’t expect their 2018 cassette ‘Milk River Blues’ to be overly concerned with drawing from bluesy elements; nor should you approach them thinking that either the legacies of MC5 or The Stooges strongly apply. The Stools are slightly unhinged and are probably best approached with caution.