Dead Bundy and the Neat Neat Neats: Life Is Hard…Death Is Neat

Dead Bundy and ....

Providing a villainous canvas for the most essential of mischievous sounds Life Is Hard…Death Is Neat the latest album from Dead Bundy and the Neat Neat Neats has everything you could desire in a psychobilly riot. A collection of songs which are as compelling as they are the instigators of varied rock n roll flames, the album just grabs the heart and thrusts it into a bruising rampage of insatiable riffs, hungry rhythms, and heart borne passion. This is a record from a band which lives and breathes their sound and uses their open influences to corrupt and ignite the wickedest shadows within its willing victims.

The Minneapolis quartet is another band which lets the music do the talking with info about the band as scarce as the desire to behave within the album itself. The band does consist of Matthew Sprinkles, Chris Wilson, Cody Hillyard, and Matt Kalsnes, and employs influences from the likes of Batmobile, The Quakes, Reverend Horton Heat, Mad Sin, and Screaming Jay Hawkins amongst many, as well as a band which springs to mind often across the release, the Frantic Flintstones, to their own mastery. Life Is Hard…Death Is Neat is the follow up to 2011 album Bad Moon Death Trip, and was released last year making us late to its glory but better late than never right? They tag their sound as brundlebilly but whatever they want to call it their roguish conjurations are just essential treasures for all fans of rock n roll.

The eager and thrilling breath of Hexes And Hymns opens up the album, the track a brief instrumental charge which begins with 300gentle caresses before turning on the for pulsating guitar strokes, thumping rhythms, and a delicious whisper of discord throughout its twisted twang. It is a fiery start soon equalled and surpassed by the shadows gifted Evil Deeds And Demon Seeds. With a groaning hungry bass slapping resonance and an irresistible groove the song stomps through the ear with only thoughts of dragging the feet and passions of the listener into action, not that they need much persuasion when confronted by infection carrying sounds like this.

From there the album sets free one of its biggest pinnacles in a continual parade of highlights. Junglebella swings astride the senses with an insatiable energy and compulsive swagger, the vocals and guitar luring irresistible whilst the contagious chorus demands receives compliance from the throat of the listener with immediate effect. It is a sensational song which brings elements of The Meteors, Link Wray, and The Legendary Shack Shakers into play. The musicianship is as impressive as the viral persuasion at work throughout song and album and already only three songs into the release one feels the band is destined for the strongest recognition in their chosen genre if not further afield.

The sinew stretching Bruja with its crushing rhythms and flames of scorching guitar continues the now beyond simmering rapture, the track a muscular bruising with more addiction than primitive sexual urges…oh that is just us then…whilst the likes of the raw rockabilly furnace of Movie Monster and the country lilted evil of Bad Woman with its Dave Edmunds/Polecats like gait brings diverse enterprise and tingles to the release. The last of this trio starts as an old school toned treat which again leads one by the ear to embarrassing rhythmic expulsions on the dancefloor but midway intrigues and excites by twisting into a punkabilly storm which is a mix of Demented Are Go and The Living End.

As the album continues the songs Supernatural Man, She’s A Hellcat, and Road To Ruin only lead to further squeals of joy before another major triumph arrives in the graveyard romance of Bone Daddy. It is a glorious track which romps with sinister intent and deathly mischief. The irreverent vocal squalls and ever potent emotion playing bass prowl fires up the deepest passions whilst the heated hooks of the guitar conjurations pulls the heart into action like a satanic musical magnet.

Closing with the fine acoustic ballad Devils In The Dark, the album is an enthrallment with the highest rewards of pleasure attached to every note and rhythm. Only enthused acclaim can be laid upon Life Is Hard…Death Is Neat and a band in Dead Bundy and the Neat Neat Neats which makes the company of their nefarious creativity as essential as breathing.

https://www.facebook.com/DeadBundy

RingMaster 17/01/2013

Copyright RingMaster: MyFreeCopyright

Doctor Caligari: Self Titled E.P

DR Caligari

Giving a voice to the heart of the graveyard and brewing a potent irresistibility to its darkest musical shadows UK psychobilly band Doctor Caligari is a band which leaves the heart inflamed and dark hearted tendencies wide awake. The trio from Cardiff produce mischievous slices of rock which in the shape of their self-titled EP just ignites the fullest passions. With a psychobilly core and a strong breath of rock n roll to its presence the release is a contagious riot of energy, sound, and pleasure.

Doctor Caligari began as the solo project of song writer and guitarist Johnny Horror, the band name taken from 1920 German silent horror film The Cabinet of Dr. Caligari, though originally the project was to be called Doctor Caligari’s Secret. As he worked on an EP of songs in the closing darkness of 2011 his search for a vocalist linked him up with former Ghostfire member Mr. E. Together the pair decided to move the project from a studio based band to one also embracing the live arena. Next to be recruited was drummer Gwyn Jones whilst for the recording of the Neil Michael Waters produced EP, the band was joined by bassist Joe Grogan (Graveyard Johnny’s, Estevez) and session drummer Stephen MacLachlan (27th Letter Music).

The release begins with the Western scented Creepy Horror Town, a track with heated skies and a golden eager touch to its doctorcalcdcoverinfectious stroll. The vocals of Mr. E. have a clean yet intimidating tone as he unveils the dark tale whilst the guitar of Horror winds the passions round its every string and note inciting further primal instincts to those teased into play by the stirring bass and drum incitement. The track is a mix of Zombie Ghost Train and Reverend Horton Heat distilled into a refreshing wash of seduction which could grace the latest Tarantino film with ease.

The brilliant She Likes It Spooky steps forward next to unleash its wanton rhythms and compelling grooves. The track stomps through the ear with a viral infection of lingering melodic hooks and rampant rhythms whilst again the great vocals complete the deal for the heart. With his tones on the song one is reminded of Karl Blake in his Shocked Headed Peters guise, the track itself seemingly holding loud whispers of the song I, Bloodbrother Be. As the track romps across its compelling course, voice and limbs are recruited with a not to be denied hunger with a fullest pleasure in place by the time the last delicious note has placed its thrilling touch upon the ear.

The following magnetic storm London After Midnight is just as insatiable and impressive, its transfixing onslaught of thumping rhythms and incendiary sonic teasing an unrelenting joy. The song likes its predecessor riles up the senses with a magnificent embrace of raw edged energy and irresistible rockabilly shadowed playfulness. The guitar of Horror manipulates and taunts with a majestic wink of its eye whilst the bass of Grogan is a pulsating brooding delight adding darker depth against the perpetually excellent vocals. The two tracks side by side make the release an essential psychobilly purchase on their own but the band are if nothing else generous with their quality and thrilling encounters as shown by the next two songs.

The EP is completed by firstly the zombie cored assault The Dirty Dead which offers a senses slapping bass display to drool over whilst once more the guitar lights the skies of a song with sonic flames which burn and seduce. Lastly the outstanding (She’s Got) Corpses in Her Bed is a rampaging bruise of frantic energy and activity from all elements.  It has an unappeasable greed to grab the soul and ignite the feet and as it sets free its unrestrained uproar of sadistic glory with dictating gnawing bass sounds and barbed compelling drums, it simply leaves one exhausted whilst basking in psychobilly at its very best, a statement more than appropriate for the whole of this excellent release.

If you are lucky enough to grab the CD of the EP, but move fast as it is almost sold out, there is the additional triumph of The Curse Of The Monkey’s Paw to get excited over, but even without the song the download version of the EP is a must have for all fans of rock n roll.

Check out The Bone Orchard podcast on January 23rd @ www.audioburger.com for the psychobilly special featuring amongst others this impressive band.

http://www.facebook.com/DoctorCaligariBand

http://www.doctorcaligari.co.uk

RingMaster 15/01/2013

Copyright RingMaster: MyFreeCopyright

the black frame spectacle: Grady Sessions II

Take two men, a guitar and drum kit, and a passion to turn big thumping beats and energetic rampaging sounds into something as essential as breathing, and you have the black frame spectacle. Fusing the feisty essences of rockabilly, punk, and psychobilly with expressive lyrical might and powerful inspiring vocals, the duo from Canada create music which could soundtrack a riot whilst persuading a thousand more eager hearts to join its passion. Their latest album Grady Sessions II is a breath taking storm of thrilling nostalgic sounds and modern heart spawn urgency and craft, a lo-fi adrenaline soaked surf through incendiary invention and captivating unpredictable imagination. It is outstanding, a record which lies somewhere between bruising the senses and sending them into orgasmic rapture, though in the end the result is the same as from both extremes.

The Ontario band consists of guitarist and vocalist Ian Sullivan and drummer Adam McNeill, two men who met as work colleagues in 2003 and came together as musicians in 2009. Their striking sounds soon found them with a constantly growing and strong fan base around the Dorchester and London area which with the release of their debut album Grady Sessions spread further afield. The new album takes all the impressive essences of the first album and explores them with greater depth for a distinctive and imaginative triumph. The release plays like a heady brew of bands like The Peacocks, Batmobile, and Living End distilled through the breath of Max Raptor and System Of A Down, it is a unique beast with at times familiar sounding sinews within devastatingly inventive and fresh creative muscle.

As soon as opener Patient Zero scurries through the ear with rasping riffs and disorientating rhythms, a tingle shoots through the heart. There is an immediate sense of something special raging alongside the driving vocals and shadowed gait of the teasing slightly abrasive maelstrom of ingenuity. The track stomps with electric tension and gnawing urgency aligned to unpredictable enterprise, a punk rock tempest spiced with a raw Gene Vincent swagger.

The following Bust Out The Boogie continues the mighty start, its rockabilly swing and challenging bite simply irresistible. The song makes it impossible for limbs and voice not to enter its affray, the energy and heart of the track a wild infection whilst the knowing romp of the vocals is an instigator anyone would follow whatever its intent.

As the album progresses the growing adoration towards the inciting sounds becomes an unbridled lust, tracks like Class Of Lonely Dreams and Use Your Claws, sensations to lose inhibitions to. The first is a caustic call to arms to match anything on the Roll On album from Living End, its instigation as contagious as the rough surfaced sounds, whilst the second with its waspish lilt to the guitars is a seductive tease to lose oneself within with ease. Their stunning might is followed up with the just as provocative and storming sounds within Up, Back, Or Off, an track to ignite the primal needs and greed with expertise.

Though at times the surface sound has an admittedly very agreeable but similar initial assault it does not take much effort to discover the inspired versatility and diversity to the ideas and sounds at play. Bored Of The Lie for example at first seems like a continuation of the previous track but soon lays an undulating passage which is continually mesmeric and constantly challenging. It is also quite brilliant as are all the songs and album as a whole.

Further highlights come with the likes of An Ode To Dogs Bollocks which starts as something Buddy Holly might have imagined and evolves through a snapping spicery of Calabrese and Reverend Horton Heat, the military surge of Marching Orders, and the emotive twisting glory of Oscar Mike. The last of the trio is immense, the vocals of Sullivan pushing the already striking range and depth of his ability to greater heights whilst the rhythms of McNeill frame the sensational track with a persuasive and invigorating magnificence.

Closing with the dazzling The Mob Awaits, a quite delicious track with a tin pot alley swagger and sweltering unrivalled passion, Grady Sessions II is simply brilliant. With ease it is one of the best albums to appear this year whilst taking the heart on the most genuine and inspirational journeys in a long time. If punk n roll is your favourite tease thanthe black frame spectacle will leave you drooling from every pore.

https://www.facebook.com/pages/the-black-frame-spectacle/288510844804

http://www.theblackframespectacle.com/

RingMaster 14/11/2012

Copyright RingMaster: MyFreeCopyright

Beat Seeking Missiles – ‘Break My Fall’/’Dr. Strangelove’

Warm, enthusiastic and completely magnetic, the debut single from Beat Seeking Missiles jumps all over the ear to offer riotous beats, melodically curved grooves, and insistent energy.  ‘Break My Fall’/’Dr. Strangelove’ knows what it has and is unashamed in bringing it directly and openly to one’s senses. It has irrepressible blends of beat and surf rock coupled with garage and heartfelt rock ‘n’ roll to merge into a sound that brings sixties vaunt alongside punk attitude and garage rock honesty, it has unbridled dirty charisma.

Released on Dirty Water Records the single brings elements of the likes of The Stones, Bo Diddley, Link Wray and in some ways The Modern Lovers. For all the artists their music does remind of the Beat Seeking Missiles as evident on the single, has a distinctive rugged sound of their own, offering influences as spices to their thick spirited creations. The band is comprised of a pedigree many bands would drool for. There is Sir Bald Diddley (from the Wig Outs/Big Wigs/Alopecia Records), Mick Quinn (dB Band and founding member of Supergrass), Kid Wig (of the Wig Outs/Big Wigs), and Bruce Brand (Pop Rivets/Milkshakes/Thee Headcoats/Masonics), a collective that certainly with this first single combine their experience and attributes into a stimulating and very exciting proposition.

Lead track is ‘Break My Fall’, a sixties lined slice of electrified raw pop. Combining a feel of the Who and the Troggs with The Stooges and The Ramones, the track flows with spiky melodies, soaring Beatlesque harmonies and tenacious riffs. The song openly wants the ear captivated, thrusting a simple but eager driven riff through its centre to allow the guitars to bring scorched diversions and enterprise to the track. The song is an excellent introduction to the band but soon left in the shade by its partner track.

Dr. Strangelove’ or to give it the full title on the single sleeve, ‘Doctor Strangelove, or How I Learned to Stop Worrying and Love the Beat Seeking Missiles’, is a rumble upon the senses. Part rock ‘n’ roll, part rockabilly, and part sixties enthused blues, the track is monstrous. Its persistent beats are hypnotic and the vocals dogged, the mix recalling the likes of Reverend Horton Heat, Link Wray and at times Ray Campi, plus the punk essences of a Rocket From the Crypt, It is wonderful stuff that gets better with the explosive melodic crashes and cascades within the song. The track plays with an arrogance and self belief that is irresistible and easily confirms that this is a band one needs to hear more of and go see live.

Beat Seeking Missiles are an instinctive need for your musical day, simple as that. Just trust and go listen to this single for your proof.

RingMaster 08/02/2012

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Thee Exciters – Perpetual Happening

From the opening pulses of its first track, Perpetual Happening the new album from Thee Exciters grabs hold of and parties on the senses.  The experience is raucous, at times very dirty, and constantly refreshing as the UK garage punk band unleash track after track of vibrant infernal rock ‘n’ roll. The second album from the Southampton based band leaves one sweaty, energised and totally fulfilled which is all one can ask of a release though Perpetual Happening satisfies far deeper than most other releases heard in recent months if not the past year.

Formed in 2003 Thee Exciters have garnered increasing acclaim and drawn more and more to their sonic sounds via their self released debut single ‘Johnny’s Too Messed Up’ in 2004 and their releases since joining Dirty Water Records of the EP Dial ‘E’ For Excitement of 2006 and impressive debut album Spending Cash, Talking Trash two years later. Their follow up album again released on Dirty Water Records brings more gutsy fuzzed up almost primal slices of rock ‘n’ roll that sound like the bastard offspring of a beer soaked union between the likes of MC5, The Stooges with The Clash and Sham  69, with added seed from the psychotic delights of The Cramps and Reverend Horton Heat. An infectious flavouring that spurs on Thee Exciters own scuzzed up garage punk sound.

The album breaks loose with opening track ‘Dinosaur Traffic’, the track throbbing with bluesy riffs, swinging basslines and group shouts behind the brazen vocal delivery of Paul Le Brock. A delicious start toned in echo that riles up the senses for the even more impressive and excitable things to come. There is an instinctive feel towards the music that Thee Exciters make, it wakes up the raw energy within as well as in some ways give that wonderful feel of reinvented nostalgia. Though it has to be said for any bands or sounds they remind of or bring in they are mere spices within the distinct Thee Exciters feast of sound.

The fuzzy title track follows to mesmerise and pulsate within the ear, the insistent yet veiled key sound sweeping across behind the acidic guitar of Justin Cunningham a teasing element. From here the album explodes into a higher intensity and pleasure. The filth coated punk rock of ‘Flower Punk Girl’ sees the band living up to its name thrusting irresistible original UK punk intent with traces of Stiff Little Fingers and Subway Sect. Its raw, dirty, and with the drums and bass urgent and forceful totally outstanding.

The album is highly consistent but certain tracks stand out more as in the again punk fuelled garage rock gem ‘Paint Me’. As with all the tracks really it is impossible to fully tag the sound fully for in this alone there are plenty of psychedelic tones, psychobilly blooded veins and more running through the punked up rock ‘n’ roll, the diverse elements combining to make the band as exhilarating as they are. The album’s two other classic tracks are the same, varied and irrepressible. ‘Hang Loose’ may not have the most original sixties sound but it is an infectious burst through the ear to sweep one up in its distorted melodic arms, and make it impossible to resist its eager hooks and intention to ignite the senses.

The best track on Perpetual Happening is easily ‘Devils Make Up’, pure hypnotic psychobilly. The track gyrates with insistent rhythms, voodoo spawn riffs, and seedy barroom piano, and with essences of The Cramps, Meteors, and Th’ Legendary Shack Shakers oozing throughout, the album is a must listen from this track alone, though it is backed up by plenty more impressive tracks like the psychotic ‘Mirrors Never Lie’ and the uncomplicated and direct glory of the blues punk ‘Killing You’.

Perpetual Happening is masterful and a deep pleasure that whips up a storm as it winds itself into the senses to incite and ignite more pleasure than can be found in a blues and spirit fuelled whorehouse. Thee Exciters are back with a bang, rejoice and enjoy yourself with Perpetual Happening.

RingMaster 31/01/2012

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The Pulsebeats – The Pulsebeats

The self titled debut album from Spanish based power pop combo The Pulsebeats only has one intention, to rattles cages and tease ears with enthused and excitable bursts of pulse racing raw energy. To the term power pop, which the band use on their bio, is slightly misleading as their eager sound is more a clash of garage rock and punk with healthy veins of pop and rock. The album is unpredictable and a release with definite peaks though the consistency across its length is strong.

From Santander, The Pulsebeats began at the beginning of 2010 with the quartet of Nathan (ex- The Vipers – UK), Alex (currently in Zientotreintayuno and Riff Cadaver), Ral (ex- White Radars, The Vipers, Mairollosnauta, Corte de los Milagros…) and Luis coming together to in their own words “…write great pop tunes that you can dance and sing along to.” The album proves they succeeded though with a great rough edge to their music to be more than just pop.

The Heart Of The Rhinestone Cowboy’ opens up proceedings, jangly guitars with a southern lilt playing on the ear. The song is a stirring mix of punk and country rock giving a mix of The Pogues, Reverend Horton Heat and Dropkick Murphys. Blistered melodies and harmonies flow alongside the choppy guitars and coarse vocals to make a strong start to the release. The pop punk of ‘Song For Celia’ plays easily upon the ear next but it is with ‘Cynical Ride’ that things accelerate. From the first thirsty riff the song grabs firm attention, with a dirty insatiable sound, teasing keys and a thumping rhythm it hits the spot perfectly. The track also confirms what previous tracks suggested, there are some mean basslines at play even if production veils them beneath the guitar at times.

The dual male and female vocal led ‘Midnight Drive’, the energetic ‘You Powerpop Boys’ with boisterous guitars and mischievous bass, plus another southern twang lined track in ‘1,000 Stars’ keep the album flowing with agreeable and pleasing sounds, the last of the three bringing urges to strap on the stirrups and go ride something. Though the tracks do not leap out as others they all bring a sing-a-long attitude, fun, and memorable moments to get feet tapping and interest deep.

The Pulsebeat keeps the best until last though, the album closing with three thrilling and impressive tracks. Firstly ‘Shallow Call’ swaggers in with shouts, a grumbling bassline and stirring punk guitars chopping across the senses. Sounding Rocket from the Crypt like, the track turns up the intensity and energy. It never gets out of control or goes full pelt but has all the elements and intentions good punk music should. ‘Wanna Make U Mine’ leaps right in next, giving a senses energising cacophony of sound from an inbred union between The Briefs and The Strokes with Living End, this is punkabilly at its best.

Killed By Sinatra’ closes out the release with equal quality and pleasure. Fuelled by rampaging pop punk focusing on direct ear blistering fun the song is again RFTC like with splatters of The Stooges and Foxboro Hot Tubs. It throbs and jumps with playfulness, and as always jangly guitars and irresistible hooks run wild. Placing strong tracks at the end of an album always seems an obvious idea though many bands do not. To leave on a track that rings and lingers around the head and thoughts has to be the best way to induce people back soon, apart from making a great album of course.  The Pulsebeats do it in triplicate, leaving the listeners with a trio of thumping hyperactive irresistible tunes. With the rest of the album being pretty darn good too they have come up with an impressive album.

The Pulsebeats is not without flaws especially in the bass and keys which when heard are excellent but too often they are blanketed by the crashing guitars and eager vocals. The album is a treat to delve into again and again with ease so go treat yourself by checking it out, a fun time is guaranteed and it just might become a regular on your personal playlist.

RingMaster 27/01/2012

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Dick Venom & The Terrortones – Rockin Rollin Vampire Man

With a warm smouldering glow deep inside the new EP from Dick Venom & The Terrortones is placed in the slot and the play button pushed by an eager excited finger. It has been a long long time since a psychobilly release has passed this way, a form of music that brings tingles that most genres can only aspire to at The Ringmaster Review. But can this UK quartet fulfil this anticipation or disappoint to bring an anti-climax?

The Rockin Rollin Vampire Man EP is a gem, from the moment the first track flexes its sweat soaked mischievous pecs the release courts and seduces the senses with honest graveyard rock ‘n’ roll.  Actually the press release calls this a double A-side single of ‘Rockin Rollin Vampire Man’/ ‘Sticky Pants Trance’ but with a third track included too I am sure they will excuse us calling it an EP.

Consisting of Dick Venom, Vicky Twist, Sugar Beats, and Wrex St Clair the band have a insatiable garage/rockabilly/psychobilly sound evolved through a nasty flesh violated union between the likes of The Cramps, Heartbreakers, Reverend Horton Heat and Demented Are Go. It is a glorious tease upon the senses and an instinctive instigator of the body’s rhythms, essential rock ‘n’ roll. The quartet has sucked energy and blood from audiences all over the UK sharing stages with the likes of The Meteors, The Radiacs, and Vince Ray & The Boneshakers and this EP instantly nurtures the need and want to catch the band live as for all the excitement generated on the release you just know they on stage is a totally different experience.

Sticky Pants Trance’ ~(we’ve all been there right?) opens up proceedings with a Cramps spawned garage punk energised sound and pulse racing rockabilly urgency. You can add a touch of early Birthday Party and Meteors to this but for all the comparisons and references that openly ooze the finished sound s are all Dick Venom & The Terrortones. The guitars chop greedily across the senses as the bass throbs like a wanton beast on heat whilst Venom spits and writhes with words as he thrusts the messy fun filled lyrics forth.  The rest of the release could be crap and it would not matter thanks to this excellent opener.

Of course the remaining tracks only get better. ‘Rockin Rollin Vampire Man’ is the best track on the EP, irresistible and hypnotic. With a wonderful lustful and inviting drum beat alongside a grumbling bass the song  hooks its seductive nails in firmly. This opening reminds one remarkably closely of a Zanti Misfits song ‘Kidz Songs’ (look it up) from the 80’s and it is hard to think of a better beginning to a song.  The track also carries the dark energy of 80’s band Bone Orchard and sweeps one up in its pulsating scrawny arms in a blood fuelled dance.  The track is psychobilly majesty that will bring deep smiles and longing desire from all fans of the genre.

Dirty Heartbreakers flavoured rock’ n’ roll lines the final track ‘Lilly & The Killers’, its beginning coming with a spice reminding of ‘Chinese Rocks’. As always Venom conjures a tale with his words inspiring crypt borne imagery and dangerous romance. Brief, straightforward, and direct the song is the perfect closure for a stunning release. I tried to find fault somewhere but it is impossible. Yes music like this finds a relatively narrow market, its delights and death drawn mischief a mystery and confusion for many but if you have tasted the wells of rockabilly and psychobilly and grown appreciative fangs then Dick Venom & The Terrortones will soon be an addition to your favourites folder.

Rockin Rollin Vampire Man and the decayed treasures within are simply manna from the cemetery and the cause of impatient anticipation for much more from the band. UK psychobilly is in safe hands, we can all rest in peace for that.
https://www.facebook.com/DickVenomandtheTerrortones

RingMaster 26/01/2012

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Dick Venom & The Terrortones – Sticky Pants Trance

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