Start Listening To: bloodsports
The Brooklyn-based four-piece talk new beginnings, layered arrangements, and finding beauty in restraint.
bloodsports make the kind of music that doesn’t rush to make its point. Built on tension, texture, and an unspoken sense of atmosphere, their upcoming record Anything Can Be a Hammer feels like a confident step forward: sharper, more expansive, and more collaborative than anything they’ve released before. We caught up with the band to talk about the making of the album, the influence of Engelbert Humperdinck, and the quiet joy of sitting still.
For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?
We’re called bloodsports, we are a rock band based in New York City. Our names are Sam Murphy, Jeremy Mock, Liv Eriksen and Scott Hale.
Can you tell us more about the themes behind lead single ‘Rosary’?
(Sam) “Rosary” is probably the only true “love song” on the record, it sort of talks about a moment in time when I had just gotten out of a relationship and the regrets and nostalgia that follow. It doesn’t feel like a sad song to me, more so just a thought process of what could have gone differently.
There’s a real sense of patience and restraint in ‘Rosary’ before it builds into something much larger. Was that dynamic structure intentional from the start, or did it evolve over time?
Dynamics are really important to us as a band, both live and in the recordings. That was something we really tried to focus on at the start of writing all of these songs. More understated sounds are always really appealing to us in that they create a lot of tension that require a release at some point, but it’s fun to play around with when and how that comes about.
This record marks a shift into more orchestral arrangements and refined production. What pushed you in that direction, and how did it change your approach in the studio?
(Sam) This record was the first time any of us had recorded in a proper studio, and it opened up a world of possibilities. Jeremy engineered the last releases, which made it a little more difficult to capture that sound of a band just playing in a room together. Having Hayden record and engineer the record from a non-band member perspective made it so much easier to just focus on playing together (although we would welcome him into the band if he wanted to).
(Jeremy) At the time of writing, I was very inspired, by the music of Engelbert Humperdinck. I discovered Engelbert through a scrapbook I found at a thrift shop while I was living in Austin, Texas. I was very taken by how hard he leans into the climaxes of the song, and how he really squeezes every ounce of emotion possible out of his songs through these massive arrangements and belting vocal style. I used to play his record every morning when Sam and I lived together.
Your earlier singles like ‘Canary’ and ‘Sky Mall’ already showed your range. How do you think this full-length expands on the foundation you laid with those earlier tracks?
Since moving to New York and having Liv and Scott join, It feels like a completely new project, which is really exciting. We are all inspired and influenced by such different things, it would make no sense for us to write an album of songs in the same genre or style. It wouldn’t reflect who we are as musicians and listeners.
The band’s been active in Brooklyn’s DIY scene since 2024*. How has that community shaped your identity as a group, both musically and personally?
We have a truly great group of friends right now. There’s a real sense of community and support and the city is generating some incredible music. It’s really exciting and energizing to be a part of.
The album title track closes the record. Without spoiling too much, what made that song feel like the right endpoint?
This was probably the most collaborative track on the album. It held many different forms, and basically came together in the studio. It always felt like some big dramatic closing track to us which is maybe a little corny but it works for us.
Between the lyricism, dynamics and texture, the record feels built on contrasts, control and chaos, clarity and distortion. How much of that was deliberate?
As much of it as we could control was deliberate. The quiet and simple parts makes the noisier sections hit harder - and vice versa - which is very cathartic for us to play live and listen to.
With members coming from various musical backgrounds, what does collaboration look like when you’re writing? Is it quite democratic or more led by specific voices?
This project started out with Sam doing most of the writing. Since we’ve been in New York, it has gotten a lot more democratic. We each have a lot of room not only to write parts but in arranging songs as we put different parts and ideas together. Sometimes a song is a combination of pieces from two or three different songs that were never finished that we try to mesh together over a few practices. There’s a lot of arguing in the practice space.
You’re signed to the newly launched Good English Records. What drew you to the label, and what has that partnership been like so far?
The people at Good English are some of our best friends, so it’s a blast working with them. Trying to grow the community aspect of music is what was so intriguing about it to us. We’re just happy to be a part of something so special.
What do you love right now?
(Jeremy) Birding.
(Sam) Baseball.
(Liv) Sitting somewhere quiet.
(Scott) Rockaway Beach.
What do you hate right now?
How hot New York gets in the summer, it’s oppressive.
Name an album you’re still listening to from when you were younger and why it’s still important to you?
(Sam) Blonde by Frank Ocean still hits the same as when I was 16.
Finally, as you gear up for the release of Anything Can Be a Hammer, what do you hope new listeners take away from this record?
I hope they feel the same catharsis as we did making the record! We’re just honored if anyone listens at all.
pre-orders for the record are live here - https://bloodsportsbk.bandcamp.com/album/anything-can-be-a-hammer