Rozu Interview

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to its start?

Thanks for having us guys! We are a little band called Rozu from Denver Colorado, comprised of myself, Tim Graham (vocals), DJ Sundine (guitar), Henry Navarre (bass), and Brian Robertson (drums). We all came together back in January of this year with one goal in mind to write some heavy influenced post hardcore music. We have all been in our local scene for years always being the guys that were pushing our previous projects to get to that next level and thought it would be a good fit to all come together and have not just one member but all members with that same drive, passion, and work ethic.

Have you been or are involved in other bands? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Yeah, we have all been in bands for 5 plus years. DJ and myself were both in a band together that was pretty much in our same realm where Henry has been in so many different styles of bands and still writes a bunch of different styles of music from ours. Brian plays in another band that is a pretty awesome blend of A Day To Remember and Avenged Sevenfold and does musicals. I think our diversity while having these deep post hardcore love and roots give us a lot of cool ideas and diversity within our writing sessions that mesh very well.

What inspired the band name?

We really just wanted something different and short, one word with a max of 3 syllables. We had a pretty long list of names and Rozu (Japanese for rose) was one of those ones that we all kind of fell in love with. We polled around some names with friends and connections and at the end of the day Rozu was the one that really caught everyone’s attention.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We really just wanted to write music together and the vibes were there. We want to tour and be in a band that is run the proper way and conduct more as a business. When it comes to our sound we wanted to stay true to our roots, but we don’t have any intention of writing the same formula with every song and instead want to write how we are feeling on that given day. This has led us to writing some really heavy songs and also a lot of very soft and even acoustic songs. With the digital age we live in we don’t want to confine ourselves to one style, but every song has that Rozu feel to it.

And that core aim still drives band even though it is still relatively fresh-faced or has grown?

It is still the same drive every day. It has been so awesome to have this incredible vibe and drive within our camp that I have personally never felt within any other band, which is truly a blessing.

Since those first steps how would you say your sound has evolved?

It is evolving every day. As we get more and more comfortable with each other more ideas are being thrown on the table and it is leading to some incredible songs.

Has it been more of an organic growth within the band so far or more you deliberately wanting to try new things?

We always want to push each song to the next level from the last, but it is very organic just always wanting to try new things.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

For this project we are really inspired by Underoath, Taking Back Sunday, Plot In You, Saosin, Currents, and Every Time I Die.

Is there a particular process which generally guides the writing of songs?

We so far have really just been a studio writing kind of band. It’s pretty much dissecting and building off of single ideas within the computer and really making the songs come to life. We have brought in a good friend of ours Tyler Ruehl for a couple songs of co-writes which has really expanded our sound and is just a great dude that has helped all of us including himself push to be better and better every day.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

For me I really draw inspirations from my past and present experiences. I have struggled a lot with anxiety and depression in my life along with some alcohol abuse to mask my pain and needing that feeling of being numb. I bottle my shit up and music has always been my canvas and therapy to let all that shit out while trying to find the light at the end of the tunnel. We want to have that positive message within our lyrics even when talking about some of the darkest times in my life.

Give us some background to your latest release.

We released our second single Faceless back in September which goes through some of the darkest times of my life. It tells the story of that inner battle with your conscious about the way you are living your life and masking all your pain with substance abuse (in this case alcohol). The best thing that I ever did in my life was allow people into this pain I was feeling and instead of drinking my issues away I was finding comfort from friends and family which is the best thing you can do for yourself in those low moments. We have lost so many fucking incredible talents in the past two years to substance abuse going through similar things that many humans go through, so we wanted that message to be there with the repeating line “I just need to let them in” being those outside voices trying to help you.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We for sure develop all songs within the studio. We generally have a riff or a melody that we build off of and work it out on the grid as opposed to sitting in a room jamming things out that we could possibly forget before we even get into the studio.

Tell us about the live side to the band, presumably the favourite aspect of the band?

I think our energy is what makes us exciting to see. We all love what we are writing and doing as a unit and that energy we put out in a live setting is absolutely contagious.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it so far?

I absolutely believe there is always opportunities and we are all pushing for that next milestone for ourselves. In such a digital age we can see where our markets are and plan tours and shows to be more economic without fully wearing ourselves out touring an unnecessary amount.

How has the internet and social media impacted on the band to date? Do you see it as something a negative but essential or wholly positive?

Social media is absolutely toxic but is a blessing to be able to connect more with people who truly enjoy your music around the world. I think this digital streaming age is a blessing though, when you learn how to use the amazing tools provided for you. Music has always been so overly saturated, but it makes it so much easier to target the demographic you are looking for and cutting through all the noise to reach your next milestone or goal.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Thank you guys for having us. To the fans new and old we love all of you with everything we have, thank you all so much for the support at such a young point in this project, we feel truly blessed. We are currently gearing up to release a couple new songs and shooting videos for them in the upcoming weeks and are currently planning some run of shows so look for us in your city!

https://rozuband.com/   https://www.facebook.com/rozuofficial/

Pete RingMaster 07/12/2018

Copyright RingMaster: MyFreeCopyright

The Feral Young – I Haven’t Seen Myself in a While

Untamed, wild, and aggressive to the point of bloodthirsty at times…you would expect little else from a proposition called The Feral Young. Theirs is a sound within their new offering which ferociously devours the senses yet equally a predator adept at prowling the listener like a sonic wolf waiting to move in for the kill. It is a character and intent which goes to make the I Haven’t Seen Myself in a While EP one menacingly striking encounter and The Feral Young a band very hard to ignore.

Hailing from Finland’s oldest city, Turku, The Feral Young unleash a voracious fusion of punk and noise rock also embracing rich scuzzy essences from the likes of garage and stoner rock. Formed in 2017, the band has drawn references to the likes of Every Time I Die, Metz, Whores, and Queens of the Stone Age but as I Haven’t Seen Myself in a While reveals theirs is a sound already discovering its particular individuality, a uniqueness already growing since its predecessor, last year’s Failures EP.

I Haven’t Seen Myself in a While swiftly trespasses the senses with opener The Beat, its initial guitar graze of sound an enticing lure into a thick wall of temptation driven by primal beats as a raw sonic ‘hum’ escorts their predation. The equally nagging threat of the heavy bass throb adds to the intoxicating menace ears and appetite quickly fell too, earnest vocal squalls completing the rich bait making a delicious intrusion. Like a call to arms, a piper to primal instincts, the track sets the EP off on a major high.

It is a lofty perch which Amnesia Alibi cements; its raucous noise punk mixing with psych shimmers and surf ripples in an undulating eddy of snarling incitement. Again rhythms simply ensnare as melodic toxicity and vocal incitement bait, the track mercurial if always invasive in its attack but relentless in its creative and inventive savagery. It is another major temptation to The Feral Young sound so easy to succumb to.

The EP’s title track completes the encounter, the song a relatively kinder assault but as fiery and drenched in unbroken spirit and attitude as its companions. The band’s more garage rock instincts come to the fore in a roar sharing the same kind of punk instincts as artists such as The Punks and The Stooges mixed with the ferocious enterprise of others like Whores and Pigs. Though not quite matching the massive heights of its predecessors, the track is a rousing blaze escalating the impressive and thrilling outcry of the release.

With new music in our ears almost without breaks being excited is a regular treat, finding ourselves lustily animated a far rarer occurrence but one The Feral Young inspired with ease. Roll on the album the band is said to be currently unleashing from their undomesticated hearts.

I Haven’t Seen Myself in a While is out now digitally and on Ltd Ed 7” vinyl via Kaos Kontrol; available @ https://kaoskontrol.bandcamp.com/album/i-havent-seen-myself-in-a-whilehttp://www.kaos-kontrol.org/shop/the-feral-young-i-havent-seen-myself-in-a-while-7-inch

https://www.facebook.com/theferalyoung   https://www.instagram.com/theferalyoungsucks/

Pete RingMaster 03/11/2018

Copyright RingMaster: MyFreeCopyright

Ragweed – Breathing Holes

For some reason we always feel we need a hot intensive shower after listening to UK outfit Ragweed and their greedily rapacious sound. It is possible because from the release of their debut album Parerga in 2014 it has increasingly proved itself to be a raw and dirty infestation of punk fuelled noise which trespasses every pore. Last year’s single Silver Spoons revealed a fresh essence and new evolution to their music which the ear bending, senses exhausting Breathing Holes EP, now voraciously continues.

The new encounter is not so much a mixed bag of temptation but definitely one which has numerous angles and hues to its character of which some needed little time to ignite an already in place appetite for the band’s sound while others hankered after much more attention to pretty much just as successfully persuade. Silver Spoons hit the spot right away and with increasing rigour play by play, Breathing Holes across five rousing hollers emulates its success at times but also offers up other moments which take their to work towards the same persuasion.

The trio of vocalist/guitarist Tom Adamson, bassist Callum Regelous-Cooke, and drummer Josh Pingram have linked up again with Alan Douches (Motorhead, Cancer Bats, Every Time I Die, and Screaming Females) for the mastering of the new EP, its release coming once more through Milky Bomb Records. Straight away it imposes its presence on ears, the opening heavy almost sludgy touch of first track Cansema infesting the senses before it relaxes for a grungier cry which in turns leads to an eruption to noise rock intensity. It is a cycle which repeats, magnetic in its evolution and intriguing in where it will subsequently lead which turns out to be a groove woven stroll of heavy rock ‘n’ roll.

It is an opening enticement which nags away with increasing temptation play by play and is followed by the more immediately persuasive Backbite. A tenacious mix of punk and noise rock, the track is a magnetic clamour with catchiness in its foundations and a rousing holler in its breath. Reminding of Bristol band, The St Pierre Snake Invasion at times, the song had us stomping and bawling in no time, responses just as eager for next up Thought This Through. Almost corrosively raw yet with an infectious quality which lines every twist and turn, the track grabs appetite and participation with quick ease, its punk ‘n’ roll bellow and body trespassing swagger inescapable.

Down the Drain is Ragweed at their punk best and unashamedly devious as hooks and riffs niggle and invade like a filth coated virus as the song brawls with the senses before Up ‘n’ Under brings the release to a close with its groove clad grumble. Again there is a coincidental hue of the previously mentioned Bristolians to the song which adds to the track’s organic magnetism, grooves colluding with hooks and imagination for a voracious blaze of sound and intent.

There is no doubt that Breathing Holes really grows in presence and temptation across every play but has plenty to inspire such attention from the off. We personally have found it very easy to nurture an appetite for Ragweed and their sound through their previous records and with a growing greed which the new EP has only encouraged again.

Breathing Holes is available now via Milky Bomb Records @ https://ragweed-milkybomb.bandcamp.com/

https://www.facebook.com/ragweedragweed   https://twitter.com/ragweedrock

Pete RingMaster 18/05/2018

Copyright RingMaster: MyFreeCopyright

The Amsterdam Red Light District – Sapere Aude

Though The Amsterdam Red Light District seized major plaudits as they boldly established themselves within the punk/hardcore/rock scene with second album Gone For a While in 2014, the release still missed stirring up the kind of fervour in us that others were finding the certainly highly enjoyable encounter. It seems that we were just waiting for a particular undefined spark which has now undoubtedly caught within the France based band’s new fury, Sapere Aude. THARD’s third album is a beast of a roar, as ferociously infectious as it is instinctively irritable and emotionally tempestuous and for us by far the best thing the band has unleashed.

With inspirations found in the likes of Refused, The Bronx, The Ghost of a Thousand, and The Bled, Europe has been the broad sounding board for the 2005 founded band’s sound over the past few years, THARD sharing stages with the likes of Refused, Anti-Flag, Thrice, 36 Crazyfists, Comeback Kid, and Slayer alongside their own successful shows and tours. This month sees the band off on their travels again with Sapere Aude lock and loaded in their arsenal.

It opens up with Nobody Moves Like You and a spiral of acidic grooves and heavy handed rhythms which lure ears and attention like a magnet. Swiftly it settles into a tempestuous stroll as catchy as it is belligerent, Elio Sxone’s vocals an alluring temper in its midst backed by those increasingly captivating grooves cast by guitarist Maxxx Comby. A blend of hardcore and metal, the track has a natural swing which alone infested the appetite with the dark tones of Greg Clert’s bass adding to the instinctive temptation. Vocally Sxone brings adventure and diversity to match the raw and skilfully woven sounds around him in one glorious inventive brute of an introduction.

The following The Best Is Yet To Come is just as quickly and intrusively gripping. Featuring Cancer Bats front man Liam Cormier, the track simultaneously grumbles and seduces in voice and sound, the rhythmic trespass of drummer Julien Chanel driving its intent and forceful urgency as the guitar and melodic aspect of the vocals bring a ferocity tempering enterprise. As its predecessor, it demands and commands willing attention with adventure and imagination.

Two songs in and already the album has whipped up personal passions missed by previous offerings and only ups the ante with the fiery punk ‘n’ roll of Need. Again vocals and music create a cauldron of contrasts and ferocity with balance and adventure, the song having something of Every Time I Die meets The Ghost of a Thousand to it as it too inflamed the senses and appetite before Wild Life sparked its own blaze of praise and ardour with its hellacious creative clamour. Blending various aspects of ferocious intrusion and melodic captivation to its punk metal, vocal harmonics adding to the drama, the track simply whipped up greedy attention.

Carry On is an infection of temptation, tenacious hooks and riffs colluding with the song’s emotional irritancy and rousing breath; all bound in an enterprise as persistently catchy as it is rapacious. It all comes though with an ebb and flow which only increases its fascination and imagination while Over The Fence in turn uncages a sonic squall and a senses battering rhythmic dance which holds similarities to its predecessor before unveiling its own quest of creative discontent.

The turbulent spirals of Waiting For The Day needs little time to incite intrigue and imagination next, its opening web subsequently draped in vocal and sonic dispute again as magnetic as it is corrosive in a psyche infecting mix which nags and harries as it bruises and excites. That raw incursion is only intensified in The Whole City Burns, its melodic metal aligning with feral punk in an invigoratingly abrasive holler loaded with spiky riffs, barbed hooks, and melodic fire.

The album concludes with firstly Evil Stakeholders, a slab of crotchety yet melodically bewitching raging which maybe did not quite inflame as others before it but only reinforced the impressive character and force of Sapere Aude. Its title track is the final offering, an outro of intimation and samples reflecting the portentous state of the world with bursts of rhythmic incitement. Maybe better served as an intro to the album in some ways, it is a fascinating last breath to one striking release.

From first note to last Sapere Aude truly stirred our fullest passions, that anticipation for bigger bolder things ahead sparked by its predecessor more than realised in a release sure to feature as one of the year’s greatest moments.

Sapere Aude is out now via Red Light Records.

https://www.tarldtheband.com/    https://www.facebook.com/tarldtheband    https://twitter.com/tarld

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

The Nika Riots – Set Fire

Having found the Norwegian hardcore scene a rather fruitful place to excite personal tastes, there was a definite twinge of eager anticipation when we found ourselves receiving he debut EP from Oslo outfit The Nika Riots, especially upon seeing it features members from bands such as Man the Machetes, Torch, and IEatHeartAttacks. The prospect of hearing something flavoursome to really get the teeth into was quickly confirmed by Set Fire and only reinforced across its six ferocious tracks.

Consisting of Christopher Iversen (Man The Machetes), Jørgen Berg (Torch), Kristen Fjeldstad, Morten Vikanes, and Noppers Myren (IEatHeartAttacks), The Nika Riots fuse their hardcore with voracious metal essences while drawing on the inspirations of bands such as Every Time I Die, the Dillinger Escape Plan, and Rise Against for its still individual character. It is a mix which grooves like a Bokassa, snarls like a Shevils, and has the irritable melodic punk fuelled fury of Bad Religion aligned to the unpredictable dexterity of Every Time I Die and all delivered with a defiant antagonism living up to the historical unrest behind their name. Those metal bred essences add yet another aspect to their sound, a hungry trespass which accentuates every other thread in its fractious web.

As soon as the rousing rhythmic invitation of Anti-Social Social Club was launched within a raw sonic breath attention was grabbed, the initial handful of seconds of the opener a welcoming intrusion which swiftly becomes a tirade of addictive grooves, thumping beats, and vocal argument. The track proceeds to swing along with intrusive hardcore tenacity, inciting ears and spirit at every turn with the imagination hooked by its melodic punk hues. Metal textures equally give it a diverse nature and potency as the song gets Set Fire off to a heady start.

A chest beating roar of defiance, it is pretty much matched by the following Knock ‘em Dead. Straight away it is sharing solicitous hooks, a touch of Billy talent in their spicing before its punk canter brings a great bend of throat scarring and melodically sandy vocals. As in its predecessor, attitude fuels every note and syllable, the melodies even carrying a slight toxic edge to their temptation but it all combining for another fiercely infectious affair before allowing the excellent Kill This Chaos emerges from its last sonic sigh on a rhythmic roll. This leads to another contagious intrusion equipped with hungrily anthemic rhythms, vocal irritancy, and caustic riffs. It is pure magnetism, especially when the incitement of drums and throb of bass only accompanies raw throated appeals, guitars accentuating the bait on their return with strains of heavy metal in their attack.

A melancholic melodic caress opens up Hanged Drawn & Quartered but all time becoming dirtier and unsettled before breaking into punk thrusting rock ‘n roll though that too is only another shade to the song as melodic metal essences take their moment to captivate. It epitomises the fluid resourcefulness of the band’s sound, a quality as open if not to the same prevalence within next up Skeleton Crew. Opening with an Avenged Sevenfold scented beckoning, the song soon rattles the cages with its hardcore guile and fury lined acuteness aligned to punk rock virulence.

All Hail the Queen completes the attack, its body breeding its own fusion of sound and enterprise. As the previous track, it did not quite light the fires as dramatically as those before them but with vines of grooves wrapping round the ears and a rich bluster of energy wearing the senses, it simply left pleasure and appetite hungry for more.

Set Fire is a striking introduction to The Nika Riots hinting at even bigger and bolder exploits ahead whilst stirring the passion and instincts for uncompromising punk rock; Norwegian hardcore continues to impress and excite.

Set Fire is released January 19th through Negative Vibe Records.

https://www.facebook.com/thenikariots/

Pete RingMaster 18/01/2018

Copyright RingMaster: MyFreeCopyright

Calligram – Askesis

UK set Calligram has a sound which somehow manages to be as seductive as it is debilitating, though even that kinder temptation is fiercely invasive and senses crushing, and comes to a tumultuous and compelling head within the band’s new album, Askesis. Its title means “the procedure of demonstrating self-control and determination of action and purpose”; acts which in sound, emotion, and animosity are skilfully embraced and menacingly twisted across six transfixing punishing tracks.

The successor to their well-received Alan Douches (The Dillinger Escape Plan, Every Time I Die, Darkest Hour) mastered debut, Demimonde of last year, London based Calligram have taken its bleak and often distressing atmospheres and textures to new inventive lands and heights within Askesis. Across its blackened hardcore bred inescapably immersive soundscapes, it teases and taunts, caresses and violates; emotionally and physically devouring the senses, suffocating them as it rips shreds off their suffering hides. Yet it is a joy to fall before, the grooves and infectiously venomous hooks and twists it conjures a masterful salve to the toxic malignancy unleashed.

Opener Della Mancanza instantly invades and sears the flesh of ears with the pestilential tones of vocalist Matteo Rizzardo to the fore swiftly followed by a tide of sonic animosity veined by grooves which just inflame attention and appetite. It is a rabid tempest of punk, black, and death metal; a mercurial but inhospitable scourge which just hits the spot even as it expands its atmospheric grasp and virulent hostility. The guitars of Bruno Polotto and Tim Desbos are a persistent enticement and malefaction, both extremes colluding in the song’s animus where the rhythms of bassist Smittens and drummer Ardo Cotones are similarly anthemic and destructive. Whether in  a rabid charge or its moments of ruinous calm, the track is unstoppably compelling, an irresistible incursion on body and imagination led by Rizzardo’s individual assault, his rancor leaving ears bleeding and scarred just as you imagine his throat is under his friction wearing delivery.

For personal tastes, the release never quite hits that stunning peak again yet savages the sweet spot time and time again starting with Sinking Into Existence. From its first breath, the track is a torrent of sonic violation and vocal torment within black metal smog but again the guitars weave some beguiling melodic toxins and lures to entwine eager ears. There is a predatory side to the track too, a calmer but no less threatening trespass which lifts the song to new captivation and richer emotive depths before Scourge envelops the senses with its own considered but rabid grudge. Again Calligram merge raw essences and viciousness with melodic enterprise and beauty, everything tainted in varying degrees but equally fascinating as it heads towards a passage of murderous rock ‘n’ roll and haunting sonic corrosion, and out again; Rizzardo magnetically guiding the creative pestilence.

The brief dark elegance of Murderess lures the listener into the waiting clutches of Entwined, itself a slim provocation on body and imagination but one spawned from the coupling of cancerous discontent and melodic suggestiveness. Both pieces are connected by emotion and craft, drawing the listener deeper into the album’s heavy anguished fuelled heart and the irresistible embrace of closing track Lament. A tapestry of styles and flavours all soiled and violated by the unique touch of Calligram, the song is an adventure which ebbs and flows, twists and turns; the listener’s thoughts and emotions making a similar journey within its beguiling asphyxiation of their senses.

It is an end as potent and outstanding as the beginning, and with the middle something pretty special too, Askesis is a must for fans of extreme metal, raw hardcore and simply punishing excellence to check out.

Askesis is out now through Basick Records; available @ http://music.basickrecords.com/album/askesis

https://www.facebook.com/calligrammusic/    https://twitter.com/CalligramMusic

Pete RingMaster 30/11/2017

Copyright RingMaster: MyFreeCopyright

Ragweed – Silver Spoon

Having caught the attention and passions with debut album Parerga three years ago, British rockers Ragweed has in their words, “gone through a rebirth”. They have come out of that moment of reassessment or evolution with a sound which is darker, dirtier, and flush with more salacious grooves and rousing antics than offered by an exuberant pole dancer. The evidence is all there in latest single Silver Spoon, a three- track extravaganza of devilish rock ‘n’ roll.

Just coming off of another self booked UK tour, the latest on a long line of successful ventures, this one in support of their latest release, the Brighton hailing trio forcibly build on and reinforce the fresh sense of contagious adventure and imagination their sound first introduced within last year’s AA-sided single Rust Box. As its predecessor, Silver Spoon is released through Milky Bomb Records and has been mastered by Alan Douches (Motorhead, Cancer Bats, Every Time I Die, Screaming Females) of West Side Music, New York, he getting involved having been taken with the band’s previous outings.

The single across its three parts is a tenacious and flirtatious blend of rock, punk, noise, and raw pop; tracks still embracing the heavy almost imposing essences of the band’s earlier releases but with a virulence and catchiness which really and lustily gets under the skin and into the limbs. Lead song, Silver Spoon instantly thrusts its muscular fingers upon the senses, predacious scythes of guitar drenched in sonic filth and so inviting especially once springing a groove woven swagger with rapaciously coaxing rhythms. The song’s swing is matched in the vocals, their boisterous energy as anthemic as the sound around them and just as mischievous.  Holding essences something akin to Foo Fighters meets The St Pierre Snake Invasion within its unique character the track is immense, only escalating its instinctive catchiness and creative devilment twist by turn, note by note.

The track is just as impressively backed up by its companions, Grey Matter being first up and swiftly sending a punk infested noise pop ‘n’ roll tide of riffs and rhythms through ears. Teasing keys add to its early temptation, their melodic mania lingering and erupting across the highly infectious proposal. Though dirtier and more psychotic than its predecessor, the track also has a more controlled hand on its caustic yet melodic stroll and heavy intent. It is a mix just as bold and manipulative though in another outstanding slice of Ragweed rock ‘n’ roll.

The single is completed by West Coast Pop, a Ramones meets Melvins escapade with a grunge lining to its irritable weight and nature. Fusing noise and alternative rock to its punk ‘n’ roll ferocity and dexterity, the song epitomises Ragweed’s new thrust of enterprise in their sound and writing; mixing old and new textures for one invasively alluring and irresistible trespass.

As last year’s single suggested Ragweed has grown into a striking proposition, an unpredictable and aggressively inventive one which going by Silver Spoon is heading to becoming one of the most essential adventures within the UK rock scene.

Silver Spoon is out now via Milky Bomb Records and available @ https://ragweed-milkybomb.bandcamp.com/album/silver-spoon

https://www.facebook.com/ragweedragweed    https://www.instagram.com/_ragweed/   https://twitter.com/ragweedrock

Pete RingMaster 13/11/2017

Copyright RingMaster: MyFreeCopyright