State Of Ember – Broken Horizons

With a sound woven from a combination of metal, punk and prog rock, UK outfit State of Ember have already courted proper attention with a debut EP but are now demanding it with the release of its successor, Broken Horizons. Offering six power fuelled, boldly tenacious tracks, the release is an ear grabbing, spirit rousing slab of anthemic rock ‘n’ roll and one fiercely enjoyable trespass.

Formed 2016, Worcestershire bred State Of Ember have been referenced to the likes of Alter Bridge, Shinedown, and INME but as Broken Horizons shows they have an individuality which is really beginning to mark them out from the crowd. True originality might still be awaiting their sound but it is hard to say there is nothing fresh or little which does not stand out about it either. From opener Time & Time, the EP sets out its rich stock of metal infused punk ‘n’ roll, flavouring just as welcoming to the spices of heavy and melodic rock. That first track swiftly springs wiry grooves which keenly wrapped ears, the guitar temptation laid out by Chris Tamburro an equal to his vocal prowess while the tenacious swings of drummer Chelsea McCammon alongside the infectious growl of Mike Landreth’s bass make for a matching lure.

It is a great, senses rousing start quickly matched by the eager exploits of its successor, Fear of Falling. Admittedly its opening wave of grooves and riffs is barely removed from those of the first song but it soon evolves its own character of imagination and attack which ebbs and flows in ferocity and invasive catchiness; growing all the more compelling by the turn.

Both next up Made Up My Mind and the following Reasons hit the spot, the first a fiery strong-willed roar with feral instincts and the second a cyclone of irritable punk metal inspired vigour and enterprise with a definite Therapy?-esque lining to it. Both are a cauldron of raucous adventure, the latter especially stirring before the blues rock scented Wrong Turn shares its infectious holler. Because of the thick triumph of the previous song it paled a touch in comparison but still easily coaxed ears and appetite to want more; a need final track, Beneath Our Dreams, feeds with zeal and resourcefulness as State Of Ember share another creative strand to writing and sound with its melodic rock laced metal insurgence on the senses.

Broken Horizons is as much about potential as current strengths and enterprise and as it is rich in all, it is not that hard to suspect a potent future for State Of Ember and a whole lot of pleasure for the rest of us.

Broken Horizons is released January 11th.

http://www.stateofember.co.uk    http://www.facebook.com/stateofember   http://www.twitter.com/stateofember

Pete RingMaster 8/01/2019

Copyright RingMaster: MyFreeCopyright

Oxygen Thief – Confusion Species

As a year rapidly draws towards its festive close and best of lists are being considered there is always a few gate crashers to make you think again. One sure to make the biggest noise demanding consideration is the new album from UK outfit Oxygen Thief. Unleashing eleven instinctive roars which simply command greedy attention, Confusion Species is the third album from the Bristol based band and one of the year’s most essential, voracious rock ‘n’ roll releases.

Imagining harnessing the core essence and ingenuity of Reuben, Therapy?, and Max Raptor, then mixing them with a catalyst which breeds and evolves a whole new and unique intoxication and you get a good idea of the rousing holler that is Confusion Species. It is that originality amidst openly imaginative writing and craft which ensures the album simply invites attention and we for one did not need asking twice; one listen enough to be hooked on one of 2018’s most exciting moments.

Lyrically bred and embroiled in the life entangling social and political issues of today, Confusion Species uncages its heart driven blast from its first breath, opener End Of The Pier Pressure instantly and forcibly strolling in with muscle and confrontational intent. Yet there is a devilish imagination to its purpose, ebbs and flows of intensity accentuating the drama which fuels every note let alone twist and turn. The vocals of guitarist and band founder Barry Dolan are pure magnetism, his words accentuating the lure which is echoed in the throaty trespass of Neil Elliott’s bass and the hefty swings of drummer Ben Whyntie.

The track is superb and quickly matched in strength and captivation by Atheist Dior, a song which challenges as it incites; its attack a nagging persistence built on a web of hooks and grooves and ridden by just as rousing vocals alongside a bassline as cantankerous as it is tempting.

The following Uncommon People looms on ears with a metal hued trespass, its prowl a heavy invasion easily devoured as too it’s blossoming visceral tango of wiry sounds and emotive intimation. Earlier mentioned Rueben comes to mind often across Confusion Species, this track especially prompting that reference before the punkier pop rock of Troublethink pounced and ingrained itself on senses and passions with defiance as raw energy fuels its creative animation.

The following pair of Suspension Bridge Of Disbelief and Rubbish Life Is Modern simply escalated the impressive start and lure of the album so far; the first a punchy slice of punk ’n’ roll swinging with uncompromising intent springing hooks which dig deep and riffs which worm under the skin with ease, especially the dirty lures escaping the bass. Its successor shows a more composed attack though the intensity and dynamics of its predecessors are just as eager to infest another compelling moment with post punk echoes adding to its masterful persuasion.

Both I Used To Be Elephants with its stalking riffs and irresistible vocal grooving and Lost In The Post, a track with more insatiable lures than a red light district, enthral, excite and examine body and energy with their individual manipulations. Each also highlights the great backing vocals and harmonies which collude with Dolan’s very fine lead as well as the melodic prowess behind the heavy roars of songs across the release; a tapestry exploited in great style once more within Graffiti; Irony; Lists. The bordering on carnivorous track teases with raw guitar caresses initially; lures soon joined by the earthy strains of a brooding bass and Whyntie’s ever dynamic swings as things gather to hungrily grab ears and imagination.

The album concludes with firstly You Snooze You Lose, a rebellion of sound, texture and word which left ears impatient for plenty more, and finally Practice Makes Perspex. The last track is a maze of enterprise; every way you turn ears confronted by a kinetic eddy of sonic and rhythmic dexterity slightly crazed and just a touch anxious and completely irresistible.

Those last two words sums up Confusion Species perfectly if without sharing all of the magnificence making up its whole. From start to finish it is musical alchemy, so much so that we could not choose a favourite track; all seizing the honour.  So if there is one release you simply must explore between now and any deadline you wish to choose, Oxygen Thief have it ready and waiting to devour you and for you to devour.

Confusion Species is out now via Xtra Mile Recordings; available @ https://oxygenthief.bandcamp.com/album/confusion-species-2

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Pete RingMaster 30/11/2018

Copyright RingMaster: MyFreeCopyright

The Lightness Of Being – Diversions

Called Diversions, the new EP from UK rockers The Lightness Of Being is just that, a diversion from the bland and predictable in sound and life and one ear thoroughly compelling distraction it is too. Formed in 2010, the London hailing outfit has already uncaged a pair of attention stoking EPs to date but are surely poised to flare up on far bigger and broader radars with their new offering.

Inspirations are said to come from the likes of Queens Of The Stone Age, Mastodon, and Deftones but the three tracks within Diversions show they are influences immersed in the quartet’s own and still growing character of sound. Each song is individual to another and all cruising along the fine line between seduction and predation with relish and imagination.

The EP opens with Bottomfeeder and immediately nags ears with a line of controlled but lustful riffs punctured by just as eager beats. The vocals of guitarist/keyboardist Gabriel Lim rise up within the quickly delicious bait bringing with him menace and intimation which subsequently inspires a ferocious squall; it’s settling back down the spark to repeat the delicious cycle. Fresh drama blossoms by the minute though, new instinctive strains of rapacious enterprise as dark and threatening as it is captivating. There is also a touch of early Therapy? to the song which only adds to its striking presence and persuasion.

Cave follows, a song openly embracing that Deftones inspiration. Its atmospheric caresses provide a mellow sigh to complement the similarly calm tones of Lim, the guitar of Sam West a radiant shimmer alongside as the mist of keys is slowly walked through by the sombre but magnetic stroll of Chris French’s bass. With the crisp beats of Sergiusz Brudek adding their inviting touch it is an infectious calm yet there is a sense of disturbance glimpsed in its depths, one which brews and festers until erupting in an immersive wash of volatility and sonic intensity. We cannot say that the song sparked the same richness of reaction and pleasure as its companions just due to personal tastes but there is no denying that it had ears gripped and appetite feasting before drifting away.

Closing song Refute took our favourite title, its blend of voracious punk ‘n’ roll and dark rock with grungier/alternative rock devilment quickly getting under the skin to incite and manipulate rock ‘n’ roll instincts. A host of flavours make up its swinging escapade, each a fiercely flavoursome spice aligning it’s almost garage punk instincts; just a shame it only lasts two minutes plus but a brief time which had us bouncing and growling.

There is plenty seemingly familiar about the sound of The Lightness Of Being but nothing less than fresh and individual to the band all the same. It is a great mix which makes Diversions a rich listen and the band ones to keep under close scrutiny.

Diversions is released 1st June.

http://thelightnessofbeing.co.uk/   https://www.facebook.com/TheLightnessOfBeing   https://twitter.com/TLOBmusic

Pete RingMaster 29/05/2018

Copyright RingMaster: MyFreeCopyright

Possessor – The Ripper

UK metallers Possessor have been a band fear and lust has equally and simultaneously been spawned for in the face of each release uncaged since they emerged within the death throes of 2013. The band’s doom nurtured, thrash fuelled sound is a crushing and violating experience but one which has enslaved body, imagination, and soul here with its virulent, invasive boogie. The London trio recently released new album The Ripper and we can tell you nothing has changed. Their third album is a cauldron of corrosive riffs and destructive rhythms honed into one of the rawest, insatiable, and thrilling trespasses you are likely to hear across this coming year and beyond.

As much grunge, stoner, and alternative metal as those earlier mentioned hues, Possessor’s sound is pure predatory confrontation often as demonic and lewd as the horror soaked premises it spawns. The band’s 2014 debut album, Electric Hell, was an unpolished gem of an introduction providing “a thrilling ticket to the start of their inevitable ascending ride.” It was a journey which has bruised and abused, gripped and thrilled across the following Stay Dead EP a year later and second full-length Dead By Dawn eighteen or so months on. The last album really thrust the band into new spotlights but it has to be said that all have been rousingly eclipsed and put in their place by the carnal majesty of The Ripper.

Instantly opener Conjure and Possess casts a sonic storm over the senses, its abrasive scouring the warm up and prelude to a ravenous stomp of riffs and rhythms bound in the most lustful of grooves. A temptation to rock the residents of a graveyard into life with the swinging beats of Matthew Radford as arousing as they are destructive, the track roars through ears bearing the raw dirty vocal tones of guitarist Graham Bywater with open devilment. The bass of Tom Fowler is just as devilish, its own grooved swing instinctive incitement in the multi-flavoured onslaught.

The following Guillotine is just as fevered in its attack, maybe more so but unafraid to slip into less intensive examinations of the listener as it conjures its own web of salacious grooves and rapacious enterprise. Bywater’s voice and riffs infest ears but even more so his grooves and sonic espionage manipulates body and appetite already caught by the primal claws of the rhythms.

Fowler’s bass finds an even more carnivorous voice for the following Wet Cemetery, its visceral gurning leading a wash of rasping riffs within which vocals spew causticity. Toxic melodies vein the relative calm which separates the song’s energetic lust, it all leading to moments of nefarious endeavour which itself is sheer magnetism. A mesh of essences which lure references to bands such as High On Fire, Cavalera Conspiracy, Electric Wizard, and Unsane, flavours rising throughout the album, the track emerges unique to Possessor and again a common factor to The Ripper echoed in The Slime immediately after and thereon in. The fourth track hits its crunchy stroll instantly, snarling riffs chewing sinew before grooves send liquor coated tendrils through ears, its varied metallic irritancy swiftly addictive as the psyche is increasingly possessed.

Through the grim viscera of Whitechapel Murders and the scalding tension of Lava, the scorching of the senses and unrestrained pleasure escalates, the first of the two bearing the early Therapy? scent our ears have always found and greedily consumed within the Possessor sound. Every part of the band’s unholy trinity is on the top of their game, a success applying across the whole release but at their hungriest or certainly most fervid here. Its successor is an inferno of threat and intrigue, less equipped with irresistible hooks and addiction sparking grooves than others around it but just as commanding in its escalating incessancy.

Notting Hell opens in a jungle of rhythmic machination, the piece a brief shamanic infestation of devilry setting up the blood strewn quarrel and sonic narcotic that is Hacksaw. The most barbarous exploit on the album, it is a bestial and concentrated blitz on the listener, manna for the beleaguered senses and primal rock ‘n’ roll instincts.

A pause as things take a breath simply marks the insatiable devouring sprung by closing instrumental Earth Shaker. It is a rampage driven by a horde of voracious riffs and fearsome rhythms with grooves and twists just as mercilessly toxic and though it does not quite hit the spot as fully as what came before, the track consumes attention and satisfaction with ease.

There are few bands which truly excite just from news of a new encounter with them but Possessor is among them and will continue to be so with hellish offerings like The Ripper.

The Ripper is available now through Graven Earth Records on cassette, Wicked Lester Records on CD, and digitally @ https://possessor.bandcamp.com/album/the-ripper

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 Pete RingMaster 10/01/2017

Copyright RingMaster: MyFreeCopyright

Puppet Kings – Very Cool & Groovy

With its title pretty much summing up its contents, the Very Cool & Groovy EP is the new offering from UK rockers Puppet Kings. Enticing ears with four tracks of beefy riff loaded rock ‘n’ roll, the release easily has attention in its hands rewarding it with a thoroughly enjoyable time.

Formed around 2011/12, Puppet Kings emerged from the ever potent Brighton music scene though the trio is now based in the Surrey/West Sussex/South London area. A self-titled debut EP was well-received in 2012; a strong introduction subsequently followed with increasing success by the single The Gift That Keeps Giving of the following year and the Timebomb EP in 2015. Those encounters coincided with a growing reputation gaining live presence which has seen Puppet Kings share stages with the likes of Skindred, Therapy?, Kobra & The Lotus, Sons Of Icarus and We Are The Ocean, Black Peaks, and Heck a ross the UK over the years. Fusing hard and classic rock with metal bred strains for their eventful sound, the threesome of guitarist/vocalist Tom Cochrane, bassist/vocalist Neil Sawyer, and drummer/vocalist Harry Lehane are now hungry to provoke bigger attention with Very Cool & Groovy.

It opens up with the swiftly captivating Wanderlust, riffs and melodic enticement soon colluding in their persuasion of the listener. Probing rhythms court the sultry grooves emerging within the heated and quickly infectious proposal; strong and similarly alluring vocals completing the tempting scene. There is a swing to the song’s gait and magnetic enterprise in its melodic and sonic interplay while the chorus is one where it would simply be rude not to join in with.

The excellent start is followed by the similarly spicy and tenacious Taurus. It too has a tempting range of jagged hooks and nagging riffs to get caught up on whilst the band’s potent vocals spark as magnetically as the inventive web cast by Cochrane’s guitar. As with the first track, there is something familiar to the song though nothing easy to pin down, just an overall feel to its otherwise individual hard rock nurtured rock ‘n’ roll.

Latest single Rich N White comes next with blues lined grooves teasing and taunting the senses as bass and drums stroll. Though maybe not the song we might have chosen for its lead single, there is no escaping its instinctive catchiness and the accomplished craft shaping its increasing persuasion, the song simply growing in pleasure listen by listen. Equally it shows the lyrical presence of the band is no lightweight proposal either as the song looks at the current state of the world before Other Side brings the release to a close. Straight away it is swinging with juicy grooves as riffs press and rhythms jab, the bass carrying an inviting swagger alongside more of the band’s enticing vocals. The chorus does not quite live up to the build-up, its moment a touch predictable compared to the inventive enterprise and imagination leading up to it but again listener involvement is easy as Very Cool & Groovy proves its name is as apt here as anywhere within its appealing body.

Whether Very Cool & Groovy is the break through moment for Puppet Kings time will tell but if not its potential suggests that the moment is on the cards while giving ears a rather pleasing time.

Very Cool & Groovy is out now @ https://puppetkings.bandcamp.com/

https://www.puppetkings.com/    https://www.facebook.com/puppetkings    https://twitter.com/puppetkings

Pete RingMaster 04/09/2017

Copyright RingMaster: MyFreeCopyright

Dead Cross- Self Titled

Pic SAWA

As the world seemingly surges rather than drifts into bedlam it is maybe not surprising that a sound is rising to echo it’s chaotic and discord fuelled order. It resonates from the creative union within Dead Cross, a project said to have emerged “out of a series of impractical schemes, fallen-through plans, and last-minute musical experimentation.” Featuring the combined acclaimed talent and creative ingenuity of Dave Lombardo (ex-Slayer, Suicidal Tendencies, Misfits), Mike Patton (Faith No More, Tomahawk, Mr. Bungle, Fantômas….), Justin Pearson (The Locust, Retox), and Michael Crain (Retox, Festival of Dead Deer), Dead Cross has just released their self-titled debut album; a deviously manipulative and skilfully conjured tempest of noise and intent, simply manic manna for the senses and imagination.

There really is no need to provide background to the members of Dead Cross, each individually and within a mass of bands having set down incitements and inspirations so many have fed upon and blossomed their own ventures with. So it is straight to the first breath of the foursome’s first release we go and the initial sonic mist of Seizure and Desist. From its midst surging raw riffs and rampaging rhythms burst, their assault soon joined by the distinctive and ever rapaciously mercurial vocals of Patton. Just as recognisable are the dynamically imaginative and textile swings of Lombardo; his anthemically biting incitement entangled in the sonic rapacity of Crain and the grumbling bestial tones of Pearson’s bass. A senses crumbling assault of hardcore, he track is as multi-flavoured as it is uncompromisingly furious and a hint of the developing web of noise and varied rock ‘n’ roll infesting the punk heart of the release.

The following Idiopathic even further harries and bullies the senses, its rhythms fuelling a barbarous catchiness which spreads to the united vocal attack and raw tone and causticity of the outstanding track. Unpredictability is as rampant as animosity, mischievous craft and fun equally as bold within the senses ravishing, body inciting maelstrom. Every passing second brings a fresh breath of bold and devilish adventure, the track a dancing predator by the time it makes way for the waspish nagging and unrelenting beating of Obedience School. It is glorious stuff, barbarous and harmonically bewitching leaving a tapestry of punk, alternative metal, and gothic rock suggestion.

Shillelagh is simply punk rock yet hardcore unafraid to embrace the spices of other pungent flavours to its infectious animus; the result a venomous contagion which has the body bouncing and appetite drooling before the imagination is enslaved all over again by a riveting cover of the Bauhaus classic Bela Lugosi’s Dead. Infesting it with the kind of energy and boisterousness felt at the Batcave venue back in the day, Dead Cross ensure the shadows and haunting atmosphere of the original are still an invasive temptation; Crain casting veins of melodic acidity which alone beguiles the senses.

The caustic invasion of Divine Filth hits the spot dead centre right after too, Patton and co vocally swinging from imagination’s rafters as the music around them throws itself around like an imaginatively manic dervish, again every passing second bringing new twists and expectations destroying adventure. Grave Slave is equally as tenacious in tone and intent, the Suicidal Tendencies exploits of Lombardo seemingly inspiring the whole of Dead Cross as they funk out with raw intensity and rancorous resourcefulness whilst equally embracing a Melvins meets early Therapy? like friction. It is a highly addictive proposal within an album similarly growing drug like in its temptation.

The persistent creative harassment of The Future Has Been Cancelled matches the lure and entrapment of its predecessor with its own individual and increasingly ravenous quicksand of sound and invention, at one point sinking into a quagmire of heavy seduction before bursting out with its instinctive rabid virulence of energy and sound to head towards the waiting heavy set jaws of Gag Reflex. It too meanders and dashes through a landscape of evolving gaits and twisted manhandling of the listener; each turn increasing its magnetism and our subservience to its manipulation.

The industrially lined shadows of Church of the Motherfuckers brings the album to a mighty conclusion, the track lumbering along with a primal swagger as resonating beauty glistens in its atmosphere. On the ground irritability guides the tempestuous exploits of the track, its climate remaining relatively clam but around a volatile heart which beats with combustibility. Through it all Lombardo springs a rhythmic trap which enslaves body and spirit, his creative mastery the last word in persuasion as the album comes to a thrilling close.

The tag super-group is bound to accompany many references to Dead Cross but ignore them. The band is a real and potent new force in its own right, yes embracing the previous experiences and exploits of its creators but offering something very different and exciting to rival and outshine most hardcore/punk noise exploits around them.

The Dead Cross album is out now via Ipecac Recordings through most stores.

https://www.facebook.com/deadcrossofficial/

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Hellbound Hearts – Film Noir

Like all music fans we breed real anticipation for certain and numerous releases each year but few as eagerly as that for the first album from British rockers Hellbound Hearts. Because of a pair of rousing and acclaimed EPs, the Yorkshire hailing trio has stirred a real appetite for their fervour driven rock ‘n’ roll. Now we can say that those early successes were just appetisers because without doubt Film Noir is the main meal from the band.

One of the things which could have been said about both the EP’s, Outside and The Proximity Effect and also their self-titled debut before that, was that the Hellbound Hearts sound was whilst individual not always truly unique in the crowded landscape of alternative rock, though certainly evolving with every release towards that aim. It is something the trio of vocalist/guitarist Danny Lambert, bassist Craig McLaren, and drummer Lee Brook took note of as explained by Lambert when talking about their first album and how it turned out not as originally intended. “It wasn’t working“, he recently admitted, “we’d had some changes and time to reflect, and whilst the songs were good, we strongly wanted to be our own band and not be like a 1000 others flooding the market. So we canned the album, went back to the drawing board and re-grouped, re-composed and wrote a bunch of new songs, much more fitting with our sound.”  The result of that bold move and concentrated effort is an album which comes alive from its first breath, never relaxes its energies and arousal of ears until the final note, and unmistakably provides a singular body and character of adventure.

Produced by Matt Ellis (Black Spiders, Terrorvision), Film Noir gets right down to business with its opener and recent single Suffering The Radio. Dark brooding keys hug ears initially, the melancholic air of a piano just as swift in its suggestion before from within their shadowed caress a strike of guitars sparks a rumble of riffs and rhythms. Stirring and arousing, the deluge of temptation shows restraint as it welcomes the potent tones of Lambert backed by McLaren and Brook, a union aligning with swinging hooks and a great grumbling bass groove. Inescapably infectious and boisterous, the track hooks ears and listener involvement, inhibitions dismissed for a peach of a persuasive chorus as the heart of real rock ‘n’ roll descending on the mundane and mediocrity of the modern music world above the underground.

The superb start is matched by the virulent exploits of Broken Hearted where again aggressive textures and warm melodies entangle in a contagious roar. Riffs and rhythms prowl with rapacious relish whilst hooks and vocals come littered with infectious enterprise. There is a touch of Jimmy Eat World meets The Wildhearts to the song but already the album is deep in unveiling a Hellbound Hearts only owned proposal, revealing more with every passing minute and songs like next up Poor Disguises. Taking its time to rise up, almost stalking the listener with its predacious beats and subsequent bass groan, the song stands tall with hungry riffs which in turn spark a punk fuelled charge of attitude and energy which continues to infest the song’s tenacious and grouchy rock ‘n’ roll. Lambert’s warm tones bring a fine temper as too melodies though they have a touch scorching senses like licking flames; everything adding to a stomping slice of punk ‘n’ roll.

New single The Light We Cannot See follows with its own galvanic nature and air, again rhythms and riffs carrying a heavy and heady thump as grooves entangle their menace with flirtatious and catchy endeavour. Calmer twists and suggestive textures add to the track’s lively drama and wistful emotion before the reflective Still We Wait ebbs and flows with initial emotive grace. It is a coaxing though into a far darker and tempestuous realm, surges of almost Rob Zombie like riffs and intensity bursting free whilst surf rock kissed melodies shine radiantly upon the turbulence, both contrasts merging for passages of pure ravenous rock ‘n’ roll. With the growling breath of McLaren’s bass and Brook’s dynamic rhythms, the anthemically fuelled track is quite glorious.

There is a great whiff of Therapy? to next up Blood, at times of Pitchshifter too, yet the song entangles ears and pleasure in wiry creative tendrils openly peculiar to Hellbound Hearts while Wake Up flirts with a mixture of pop punk and hard rock for its easy going and firmly captivating enticement before We Are All Alone shares its own moment of reflective honesty against an increasing gnarly bassline, rapier like beats, and metal urged sonic dexterity. The track does not quite light personal tastes as powerfully as many of those around it even with its Terrorvision spiced hues but easily leaves satisfaction greedily content.

The album is closed off by firstly the insatiable heavy rock growl of Fortunes and finally the hellacious incitement of Silent Horror Movie, both tracks in their individual ways webs of stylish temptation and instinctive infection with the former a more pop rock soaked contagion and the latter a ferociously hungry roar uncaging the primal rock ‘n’ roll.

Hellbound Hearts have been no strangers to praise and success but Film Noir leaves all before it dead in the water. It is an exhilarating slab of rock ‘n’ roll which truly only gets better and more irresistible with every listen.

Film Noir is released April 7th through https://www.hellboundhearts.com/   and digitally across most online stores.

Upcoming Hellbound Hearts Dates

8th April – LEEDS, Key Club (album launch show)

16th April – BOLTON, B-Festival (Alma Inn)

3rd June – KEIGHLEY, The Exchange

23rd June – DUNDEE, Firefly

24th June – EDINBURGH, Bannermans

8th July – WESTCLIFFE ON SEA, The Venue

11th August – LEEDS, Yorkshire Rock And Bike Show

https://www.facebook.com/wearehellboundhearts    https://twitter.com/hbhuk

Pete RingMaster 06/04/2017

Copyright RingMaster: MyFreeCopyright