Headsticks – Kept In The Dark

If packaging decided best of year choices UK quartet Headsticks will have top honour sealed with new album Kept In The Dark. The surround to its music is simply glorious, easily the best art and presentation seen in many a year by these hungry eyes and embracing music just as mouth-watering it all makes for one irresistibly thrilling offering.

Checking out their previous album, Feather and Flame, three years back we suggested that Headsticks had confirmed themselves “as one of Britain’s most irresistible and essential punk ‘n’ roll adventures.” Well, while assuring you that nothing has changed, the band has revealed that previous success was just the beginning of bigger things; bold triumphs now presented by its successor. Parading their folk ‘n’ punk instinctive sound in all its glory, the new release is Headsticks at their boldest and most boisterous but equally with its richer kaleidoscope of styles and flavours it has equally nurtured its most defined character and individual adventure yet for the biggest pleasure.

Emerging late 2012, Stoke on Trent hailing Headsticks had built and earned a potent reputation through a rousing live presence and acclaimed debut album Muster in 2014; success only accelerated by the following Feather and Flame. That growth will only be escalated again by Kept In The Dark; the band’s finest moment to date as their socially and politically charged songs relish another striking spurt in diversity, imagination, and dramatic adventure.

The new release opens its bumper load of songs, with no filler in sight, with When. From its first breath, the punk ferocity and infectious incursion of the track gripped ears with vocalist Andrew Tranter masterfully steering the rousing trespass. Devious hooks and manipulative rhythms do their persuasive deeds with relish within a song which has echoes of bands such as The Vibrators and Angelic Upstarts to it.

The impressive start is immediately matched by I Love You and its ska natured saunter. As mentioned variety in the Headsticks sound is enjoyably no new thing but it is certainly at its most eager, bold, and fluidly unpredictable within Kept In The Dark. With a Ruts-esque lilt to its stroll, the song had little trouble in getting under the skin and luring participation from body and voice before Peace Or War erupts in a roar of punk ‘n’ roll carousing where the forceful but virulent swings of drummer Tom Carter collude hungrily with the brooding tones of Nick Bayes’ bass as the wiry melodic tendrils of guitar from Steven Dunn align with his rapacious riffs.

The following pair of Cynical and Mushrooms reinforce the album’s instant adventure and prowess; the first a seducing of acoustic punk with irritation fuelling its breath and its successor a mischievous ska pop swinging incitement easily leading hips and vocal chords into action. Both easily got under the skin but still are eclipsed by the superb Mr ‘I’m Alright Jack’. Bred on classic fifties rock ‘n roll, the track is a lure of swerving rhythmic hips and melody enriched rockabilly chords around riveting vocal incitement.

Through the rock driven reflection of My Own War, an easily relatable declaration, and It’s a Matter of Time with its equally melancholic intimacy and Americana twang, enjoyment only built while the hard rock flavouring of Smoke and Mirrors proceeded to add further diversity to Kept In The Dark.

Both aspects continued to blossom as classic metal and street poetry respectively shape the temptation and strength of What If They’re Right and Out of Fashion before Family Tree pounced on social and political unfairness and exploitation upon a reggae borne canter and All of the Trees captivated with its acoustic/punk rock dexterity.

The final trio of The Song For Songs Sake, When the Sun Turns Black, and Baboon Shepherd close the album out as masterfully as it began. The first is a contagion of folk rock irresistible to ear and body, the second a compelling apocalyptic rumble of voice and insinuation; each as magnetic as the other leaving the third to sign off the album with its eleven minute dub infused homage to the career and life of South African footballer Sam Shabangu and the aligning times and experiences of Tranter. It is a track which brings grin and reflection amidst nostalgia across a lengthy landscape which never outstays its welcome.

Headsticks continue to be one mightily engrossing and thrilling proposition which, as Kept In The Dark proves, just get better and better.

Kept In The Dark is out now via STP Records; available @ http://www.headsticks.co.uk/shop.html  or http://www.stprecords.co.uk/page2.htm and other online stores.

http://www.headsticks.co.uk   https://www.facebook.com/headsticksmusic   https://twitter.com/HeadsticksMusic

Pete RingMaster 05/03/2019

Copyright RingMaster: MyFreeCopyright

System Of Hate -There Is No Madness Here

The world may be on a downward spiral to destruction guided by the corruption of humanity but it is also spawning some glorious reactions along the way and maybe none as thrilling as the second album from UK outfit System Of Hate. Part commentary, part serenade to apocalyptic horizons, There Is No Madness Here is a tenebrific tempting bred from the united breaths of punk rock and post punk, and simply one of 2018’s finest moments.

Released via Louder Than War Records a few weeks back and the successor to the band’s well-received 2016 debut, Unhallowed Ground, the ferociously compelling There Is No Madness Here is an honestly snarling, venomous contagion of sound and observation. As with their first full-length, the Barnsley hailing band has linked up with producer Matt Ellis for their latest meshuga of blackened intimation and dark punk enterprise. It roars with inescapable uniqueness yet keenly embraces the hues of bands such as Killing Joke, Angelic Upstarts, Leitmotiv, and Theatre Of Hate for a proposal as psychotically clamorous as it is skilfully woven.

There Is No Madness Here opens up with its title track, instantly enticing with a wiry guitar lure before slipping into a lively predacious prowl eagerly twisting and turning with every passing moment. Equally Dave Sutcliffe’s vocals stalk ears with lyrical suggestion as an anthemic breath fuels the whole sonic web in a proposition virtually impossible to resist participating in.

That irresistibility is an on-going tempting across the album as proven by the following pair of Black Fire and We Who Walk With God. The first is similarly portentous but with an infectious swing which lines its dark inference. The sonic lattice of Patrick Crawford’s guitar is wrapped in the similarly suggestive lure of keys cast by Martin Roberts, both aligned to the dark pulsation of esurient rhythms sprung by bassist Shaun O’Neill and drummer Carl Gulliford with vocals a raw angst lined narrative to the black infestation. The second presented an even darker and heavier trespass as it unsettled and ensnared the senses. Both tracks, as indeed all across the release, are loaded with appetite entangling hooks and acerbic melodies creating an array of temptations which needed little time to get under the skin.

In The Shadow Of The Cross teases and nags as it rises to its feet next, every tendril of guitar and caress of keys a blend of danger and enticement until the track breaks into a just as magnetic ravening canter. There is a great touch of Sex Gang Children meets 1919 to the track while there is something of an Adicts hue to the punk bred Your God Is Dead. Even so, System Of Hate’s sound is strictly individual and as virally rabid here as in the subsequent caliginous joys of Tears Of Blood, with its wolfish grooves and toxic air, and in turn within the abrasive and bracing sonic plague that is Resurrected.

The latter has the senses feeling flailed and energised; its defiance and animosity a rousing incitement matched in its own particular way driving by the raucously anthemic Rising and its fiery winds. If its predecessor was an announcement of intent, this track is the threat in full holler and again a song impossible not to get embroiled in.

The album concludes with firstly Ill Are The Cursed, a calmer melodically alluring but no less imposing and rousing proposal and finally the track System Of Hate. The closer harries and taunts ears with its sonic exploits whilst seducing with its acidic melodies and raw siren-esque vocal harmonies. It is a last incursion of sound and adventure which sums up the album’s heart and the band’s music and imagination perfectly as indeed the thrilling contagion of each aspect.

We have come to the album’s apocalypse later than others but join the call that There Is No Madness Here is and will be as relevant to the world and humanity’s decay as to post punk and punk ‘n’ roll for years to come.

There Is No Madness Here is out now via Louder Than War Records.

http://www.systemofhate.com/    https://www.facebook.com/systemofhate/   https://twitter.com/systemofhateuk

Pete RingMaster 04/01/2019

Copyright RingMaster: MyFreeCopyright

Felons – Violent Society

Offering up three short bruising shocks to the system, Violent Society is the new EP from UK quartet Felons; an encounter providing all the reasons why punk rock still gets our juices going like no other genre.

Southend based Felons have a sound which scowls like a mix of Crass, Angelic Upstarts, and The Varukers. It is old school hardcore punk bred but anything other than a dated trespass on ears and enterprise. Already this year the foursome of vocalist Jay, guitarist Josh, Bassist Lew, and drummer Pike have uncaged their debut EP, Creeps; an encounter receiving strong support and plaudits. Violent Society springs another threesome of attitude driven trespasses which will surely follow suit in success and in taking Felons to a broader and eager landscape of attention.

Who’s In Debt To Who? opens up the Dan Bazan recorded and produced EP, the track following its initial welcoming hook with a furious holler of middle finger raised defiance and observation as imposingly infectious as it is unapologetically irritable. Whipping the imagination back to the late seventies/early eighties whilst stirring up its own modern individuality, the track effortlessly incited inner dissent whilst stirring an ever eager punk appetite with its irreverent exploits.

The following Pacing offers up a mere 47 seconds of sonic subversion but  a fleeting time as untamed as it is instinctively manipulative and all infernal goodness. The dual vocal attack inflames an already organic dissonance, a combination spewing fractious incitement within an unbridled tetchy attack which needed little time, which is lucky considering the length of the trespass, to ignite ears and appetite.

The release closes with its title track; Violent Society slowly, in comparison to its predecessor, enticing ears with a bass grumble as the guitar flirts from time to time before breaking into a deliciously nagging stroll with a Disorder-esque glare to its choleric breath. In no time it announced itself as the best of three irresistible infestations of sound and attitude, reinforcing its claim by the second

Violent Society is our introduction to Felons and, with hindsight and a just as enriching meeting with its predecessor to support its declaration, installs its creators as another of punk’s new exciting perpetrators giving reason as to why the genre can still incite and arouse like it did way back.

Violent Society is available now @ https://felonspunx.bandcamp.com/releases as a name your price digital release and on CD.

https://www.facebook.com/felonsband

Pete RingMaster 14/11/2018

Copyright RingMaster: MyFreeCopyright

Bitter Grounds – Two Sides of Hope

Hailing from Utrecht, Bitter Grounds is a Dutch quartet that has a sound which could be best described as Hagfish meets The Vox Dolomites wrapped in the heart and breath of Bad Religion and Dropkick Murphys. But as swiftly evidenced within new album, Two Sides of Hope, it is a proposition with a bold and individual character that just demands keen attention.

Entangling the attitude and aggression of punk with the instinctive and raw attributes of ska, Bitter Grounds first stoked potent attention with their 2016 debut album Hollowlands. It emulated local support and praise across a broader landscape which now its successor should only strongly expand upon. Since that first release, the band has played numerous shows across Europe alongside the likes of The Real McKenzies and The Interrupters and earned plaudits for their performances at festivals such as like Punk Rock Holiday and Nice ‘n’ Sleazy. It is easy to suspect that Two Sides of Hope will spark an even bigger demand and time for Bitter Grounds such its stirring and virulent nature

As with its predecessor, the new album was recorded with engineer and producer Menno Bakker and immediately gets down to business with opener Lost. Instantly a spicy groove entangles senses rapping beats, highly catchy bait simply reinforced by bass, riffs and in turn boisterous vocals. The infectious attributes of the band’s sound and enterprise is as swiftly evident, coursing song and appetite with a viral quality whipping up eager participation. There is a familiarity to the track yet as with the band’s sound overall, it is a welcoming hue to something wholly individual.

The following Two Sides (of Hope) has a just as catchy lilt and swing to its tenacious swing shaped by a more intensive attitude. There is a defiant edge to every twist and turn, a rousing wind fuelling its incitement as the track swiftly got under the skin; a success more than matched by the contagious antics of Let Me See Now. Another which has a sense of an old friend returning with a new identity and intent, the song quickly had hips and feet doing its bidding as melodic and imaginative endeavour nurtured its brief but highly manipulative exploits.

As with its predecessor, the ska side of the band’s sound fuels next up Bad Dreams; its gait alone enticing physical involvement while the band’s potent dual vocal temptation works away on ears side by side with the jangle of guitar and the moodier stroll of the bass. Instinctively Bitter Grounds seem to conjure hooks and grooves which know what gets the juices going, My Time another addictive example with its melodic revelry and vocal dynamics.

Through the relatively calmer but just as infectious and mischievously woven Faded and the raucous holler of Let Them Talk, the album just reinforces its temptation and the band the creative dexterity of their songwriting and flavour rich music, the latter sparking thoughts that if Angelic Upstarts had embraced ska in their sound way back it would have been something akin to this inescapable trespass.

The album concludes with firstly Seven Nights, a Rancid scented stomp needing mere seconds to command limb and spirit, and finally the punk ‘n’ roll defiance of FML. With compelling rhythms battering the senses and riffs careering through ears as vocals spew attitude, the track is a tenacious and rousing end to one outstanding release.

From first breath to last, Two Sides of Hope hits the punk greedy spot, hungrily proving itself one of the best punk indeed rock ‘n’ roll albums of 2018.

Two Sides of Hope is out now, available @ https://bittergrounds.bandcamp.com/

http://bittergrounds.nl/   https://www.facebook.com/BitterGroundsBand/

 Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Voice Of Addiction – The Lost Art of Empathy

This started out as a piece on one track from their new album, an introduction for us sent by Voice Of Addiction which was so persuasive the whole album had to instead be the focus of attention. A multi-flavoured punk rock roar from the Chicago based band, The Lost Art of Empathy is one rousing confrontation which has the body bouncing and spirit leaping with its boisterous escapades from start to finish.

Becoming a potent part of the Chicago punk scene through their explosive live shows, Voice Of Addiction have been stirring up ears and venues since 2004, with a handful of releases and a host of compilation appearances marking their way. At their centre is vocalist/bassist Ian “JohnnyX “ Tomele joined upon the latest Voice Of Addiction stomp by drummer Dennis Tynan, guitarist/backing vocalist Jake Smith, and backing vocalist Luke Ostojic. Listening to the treat that is The Lost Art of Empathy, it seems impossible that the band is not a more widely recognised proposition within the global punk scene; a prospect their new album just might trigger.

With politically and socially challenging lyrics matched by a sound which bites however it comes across it’s twelve tracks, The Lost Art of Empathy opens up with that first song heard here. Rustbelt instantly coaxes ears with a spicy hook which is soon joined by a grouchy bassline and jabbing beats. Together they surge at the senses, developing an infectious urgency as Tomele’s vocals with equally potent backing swiftly capture the imagination. In no time the romp is igniting ears and appetite, its drive towards one irresistible chorus just as manipulative as everything from hardcore, pop and classic punk seems to get involved.

The following Dead By Dawn has a rawer manner in tone and touch but is equally as contagious with athletic beats and the grumbling bass shaping the assault from within which a collage of vocals and the clang of guitar entice. Smith spins a web of sonic endeavour as unpredictable as his riffs are rabid before Unity brings its own belligerent defiance to the party. Tomele’s bass again whips up the appetite, its magnetic prowess matched by another potent mix of vocals across the band.

Petty Schemes swaggers in next with a knowing mischief before bounding into a snarling and keenly eventful melodic punk blaze while the soulful Corporate Pariah evolves into a ska punk canter before which feet and hips are leaping as thoughts are provoked by the tracks incisive words. Both songs hit the spot, the second especially persuasive before Lockwood uncages its sonic spiral and subsequent punk contagion to eclipse both. Across the album bands such as NOFX, Bad Religion, and Angelic Upstarts come to mind, this track especially hinting but there is no denying that Voice Of Addiction embrace all into their own individual furor.

The street punk fuelled I Can’t Breathe invitingly brawls with the listener next, the band merging US and seventies UK punk for its tenacious attack and triumph; a success matched by the visceral punk holler of Everything Must Go. It too is a collusion of styles within the punk banner; alternative and math rock flirting with hardcore tendencies to enthral and arouse.

Through the caustic yet melodically hued tear up of Ad Nauseum and the equally uncompromising and enticing Eviction Notice, the album continues to grip attention even if the songs do not hit the same level as those before them; a plateau Alcorn Queen definitely flirts with straight after with its Mars Volta meets Converge like adventure and animosity. The track is superb, stealing best track honours at the death though there is still time for the acoustic brilliance of Are We Even Human Anymore to shine with Tomele vocally luring ears like moths to a flame.

The Lost Art of Empathy is a moment in time not to be missed; indeed all punks should make it their cause to share its compelling sound as too the presence of Voice Of Addiction. America is catching on, now it is our turn around the world.

The Lost Art of Empathy is available now @ https://voiceofaddiction.bandcamp.com/album/the-lost-art-of-empathy-2

https://voiceofaddiction.com/    https://www.facebook.com/voarockers/    https://twitter.com/VoArockers

Pete RingMaster 09/08/2017

Copyright RingMaster: MyFreeCopyright

The Domestics – Cherry Blossom Life

The Domestics - Cherry Blossom Life - MPF2 (Charlee Ramsey- PNMT)_RingMasterReview

Pic Charlee Ramsey

A predator of the senses and the injustices infesting the world today, the hardcore furious sound of The Domestics has grown into one of the most riveting and compelling assaults within the British punk scene since the Suffolk outfit launched itself at apathetic barricades in 2011. Across two albums surrounded by a host of EPs, split releases, and compilation appearances, the band’s fusion of US hardcore, classic UK punk and raw Japanese influences has grabbed attention by the scruff of the neck. It’s ‘victims’ have been confronted with uncompromising lyrical commentary as a primal catchiness infects body and imagination. That being said, everything before has now been overshadowed and taken to a new level by third album Cherry Blossom Life, a release as viciously virulent as it is rapaciously antagonistic.

With The Domestics slimmed down to a quartet since the release of 2014 album Routine & Ritual, the band has equally stripped down their sound to simultaneously bring out and increase its venomous irritability and instinctive contagiousness. Its twenty minutes unleashes 16 tracks to challenge and stir up body and thought; a brief rewarding moment in a day which is proving to be almost as essential as eating and Cherry Blossom Life takes no prisoners from the first breath of opener Dead in the Dirt. The gnarly bass of Rhodes instantly has the appetite licking lips; its dirty grumble wrapped in a lurking sonic twine which blossoms into its own unclean temptation as the band uncages a tide of ravenous riffs ridden by the vocal animus of James Domestic. The senses and emotions are instantly on edge and the body roused as the album gets down to business in fine style.

The following Snuffed Out zooms in like a jet plane, the bolds beats of Simon Battery instinctive incitement as Ted Mint’s guitar spins a savage web around the equally catchy and pugnacious assault of voice and bass. Addictively inhospitable, the track’s imposing triumph is swiftly matched by that of Don’t Tell Me What Love Is, itself also less than a minute of unapologetic scrapping equipped with primal hooks and memorable causticity. The gang vocal bruising of Homegrown Violence proceeds to emulate and eclipse that gripping pair though, its brute force a deceit to skilfully spun hooks and infectious sonic tendrils.

cover_RingMasterReviewInitially, No Deposit, No Return allows a breath with its prowling entrance, the bass portentously courting the imagination before sparking a swinging canter which in turn bursts into a hellacious dispute of sound and voice. Unpredictable at every turn and adventurous with every twist, discord and animosity a superb combative mix, the song is irresistible before making way for the bare boned poetry of Human Ikizukuri; its visceral touch absorbed by the following sonic and lyrical rancor of Punch in the Guts.

Through the anthemic vendetta of Authentic Arsehole and the unbridled senses harrying tempest of Frustration, album and pleasure make kindred spirits while Guilty as Charged twists and turns with some of the most infectious hooks and inspired antics heard anywhere this year. Maybe its boldness is not pushed far enough, its fifty odd seconds not allowing time for further adventure, but the track leaves an indelible mark on ears and imagination.

Self Abuse scowls and feuds with the listener next, a richly satisfying assault with the creative dexterity of Mint and the feuding prowess of Domestic guiding the inescapable persuasion with Death Trap pushing pleasure to yet another level with its bearish bad blood and predacious stroll. Like a mix of Dead Kennedys, Angelic Upstarts, and Converge, the song simple hits the spot, its tenacious jaws a quick clamp on the passions. Its best track claim is then straight away rivalled by Bullshit Parasite, a bullish, balls swinging anthem impossible not to get physically and emotionally enrolled in.

There is no let up on enjoyment either as the home straight of Cherry Blossom Life is hit; A Poison Too Far a breath-taking ferocious declaration of sound and word harassing the senses and Stalinist Purge a corrosive squall of emotion and sound blustering around another glorious crunchy bassline and the creative agitation of the guitar.

The album finally closes with Happy, a piece of lyrical prose caught in a shaken snow globe of organic sound, and the only following thought is to throw oneself into its clutches straight away again. From word to music, Cherry Blossom Life is UK hardcore and The Domestics at their best, indeed the band at their finest yet.

Cherry Blossom Life is out now through TNS Records and Kangaroo Records; available @ https://tnsrecords.bandcamp.com/album/cherry-blossom-life   https://www.tnsrecords.co.uk/?product=domestics-cherry-blossom-life  and http://www.kibourecords.bigcartel.com/

2017 EURO TOUR DATES:

27/08: T. Chances, London, UK (Fuk Reddin Fest)

28/08: Vrankrijk, Amsterdam (Netherlands)

29/08: Tbc

30/08: Underwerkt, Copenhagen (Denmark)

31/08: Blitz, Oslo (Norway)

01/08: Snövit, Stockholm (Sweden)

02/08: Venue Tbc, Gothenburg (Sweden)

04/08: Tbc

05/08: Köpi, Berlin (Germany)

06/08: Stö, Leipzig (Germany)

07/08: The Pit’s, Kortrijk (Belgium)

https://www.facebook.com/TheDomestics/

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Bloodclot – Up in Arms

Pic Rick Rodney

Bringing together the highly recognised talent of certain individuals from various acclaimed bands does not always guarantee something special but in the case of Bloodclot, it feels a given such the instinctive union between its collective. The band is the coming together of Cro-Mags vocalist John Joseph, former Danzig and Murphy’s Law guitarist Todd Youth, drummer Joey Castillo formerly of Queens of the Stone Age, Danzig, and Eagles of Death Metal, and Mondo Generator frontman and ex- Queens of the Stone Age, Kyuss bassist Nick Oliveri. Together they confirm that given with debut album Up in Arms, a physical and lyrical roar of hardcore defiance.

Unleashing twelve ravenous slices of punk rock with more inescapable hooks than found in Leatherface’s pantry, all fuelled by raw irritability at the state of the world today, Up in Arms is a crowd uniting battle cry. It fuses familiar essences with the fresh appetite and invention of a quartet seemingly destined to come together at some point. Everything about it is as organic as it is rabid, as challenging as it is rousing; taking no prisoners but rewarding those who it devours time and time again.

The album’s title track crashes in on the listener first, springing from an invasive sonic mist with a slavery of guitar and rhythmic predation as Joseph pokes and stirs the senses with voice and word. Castillo’s beats are rapier sharp and imposing, Oliveri’s bass carries an infectious brooding whilst Youth’s riffs and hooks ensnare across four eventful minutes.

It is an ear gripping, appetite inflaming beginning which only kicks up a gear with the following Fire, a belligerent brawl of punk ‘n’ roll instantly chaining ears with a  virulent hook as rhythms jab and incite. If the Angelic Upstarts was merged with Sick Of It All, this could be their anthem while Manic infuses an even greater physical psychosis and unforgiving attitude to the torrential gait of its predecessor in its own addictive multi-flavoured rumble.

Through the sonic call to arms scourge of Kill the Beast and the Dead Kennedys scented Prayer, new twists of sound and invention force themselves through ears, each with a virulent strain of spiky hooks and body twisting grooves, while their successor has things bouncing like a dervish. Siva / Rudra is a contagion of enterprise as cantankerous as it is exotically seductive marked, as all three, by Oliveri springing basslines as funky as they are carnal. Alongside, Youth’s riffs and grooves come as primal as they are compelling whilst Joseph squeezes every ounce of uncompromising adventure and emotional incitement out of tone and syllable.

Soldiers of the New Babylon locks metal and punk together in its prickly vent, a testy proposition woven with nagging riffs and a magnetically throbbing bassline before Kali throws all those attributes into an insatiable maelstrom of punk rock temptation, taking best track honours along the way. Barely seeing the one minute mark, the track is irresistible but swiftly rivalled by the crabby assault of Slow Kill Genocide, the catchiness moment within Up in Arms and arguably the most choleric.

Pure punk rock truculence shapes the breath-sapping antics of the following Slipping into Darkness, Oliveri spawning his most addictive moment within the album bound in the searing flames of Youth’s guitar as vocals and beats vent their animosity with Life as One backing up its triumph with its mercurial but always commandingly imposing tapestry of quarrel and imagination.

The album is closed by You’ll Be the Death of Me, a slab of rock ‘n’ roll taking big chunks out of the senses as it excites with its Lard-esque espionage. Addiction has never been more vicious and seductive within three and a half minutes, certainly in recent times, as that spawned by the outstanding finale to one of the year’s biggest treats so far.

Produced by Zeuss (Hatebreed, Revocation) and mixed by Kyle McAulay at NRG, Up in Arms transcends being just a great release from another so called ‘super group’, it has given hardcore a fresh new breath and snarl which we can only hope is the first of many gales from Bloodclot.

Up in Arms is out now on Metal Blade Records across most stores and @ https://bloodclot.bandcamp.com/album/up-in-arms

https://www.facebook.com/bloodclotofficial/   https://www.instagram.com/Bloodclot2016/

Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright