Icarus Dive – Among The Thorns

Radiating out from their home town of Guildford, there is a buzz around British alternative rock outfit Icarus Dive that simply teases attention. It is suggestiveness though which will become a demand if they continue to offer and grow even more potent from new release, Among The Thorns. Four tracks of creative adventure aligned to mischievous imagination, the EP is a joy to ears and unpredictability providing plenty to be truly excited by.

The release is headed in order and irresistibility by Hydra, a track which is pure creative theatre. Zooming in on a sonic wave as a vocal barker announces its and the band’s arrival, the song swiftly strolls through ears with a gait as much a sinister prowl as a celebratory saunter. Grooves immediately wrap around ears, seducing as the rapier swings of drummer Louis Nanke-Mannell slice through the moody lines cast by Harry Crowe’s bass. The equally captivating lead vocals of guitarist Joe Crook trigger a new swagger of sound flooded with drama as too is its accompanying harmonic backing. There is a definite Muse like spicing to the moment but as throughout the track, Icarus Dive breeds their own individuality to lure ears and appetite like a moth to a seductive beacon. The track is superb, twisting and turning with zeal to perpetually surprise and captivate.

Such its dynamic craft the following trio of tracks are simply eclipsed for personal tastes but starting with Murder and Lies, each offers their own fiercely enjoyable and compelling adventure. The second track coaxes ears with a simple niggle of guitar which is quickly joined by the ever alluring tones of Crook. It is a low key but gripping coaxing that escalates in animation to entice darker hues from the bass alongside the crisp dancing beats of Nanke-Mannell. As within its predecessor, melodic craft and rhythmic verve sparks expectations squashing vitality, the track constantly a fire of adventure and imagination further ablaze with almost vaudeville like drama aligned to boisterous energy and fun.

Mesmerised is next revealing harsher wiring in its initial encroachment before springing into an emotive glide with a whiff of bands like KingBathmat and Zedi Forder to it. Whereas the first pair of songs made an immediate compulsion for ears and lust, their successor took its time to truly blossom but time which only ensured success as the band’s ideation and individual prowess united in another flame of aural temptation.

The EP ends with The New Gods, another relative slow burner in comparison to those before it but quickly a web of magnetic enticement nurtured by the snare of guitar wires alongside inviting but almost predatory rhythms. Crook’s vocals just escalate the trap of fascination and contagion as the song completes a thoroughly striking and richly enjoyable encounter.

 Among The Thorns is the introduction of one thickly promising and already strongly impressing band to national attention though it is easy to think recognition and praise is not going to stop there.

Among The Thorns is out now across most major stores and @ https://icarusdive.bandcamp.com/

 https://www.icarusdive.com/    https://www.facebook.com/icarusdive/   https://twitter.com/IcarusDiveUK

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

U-Foes – No More No More

Live @ Fru Lundgreen, Trondheim, Norway

It may say No More No More but ears swiftly demanded the opposite once falling under the sonic hail and brimstone of the new single from Norwegian outfit U-Foes. The track is an insatiable slice of noise punk infested hardcore which batters and tempts with increasing rigour; nagging, harassing, and pleasing in equal measure.

Rising from the ashes of hardcore outfit Silence the Foe, Oslo hailing U-Foes is the trio of made up of guitarist Marcus Forsgren (The Lionheart Brothers, Jaga Jazzist, Bror Forsgren), drummer Peter Rudolfsen (The Lionheart Brothers), and long-time friend of The RR, vocalist Anders Voldrønning (Shevils). Embracing aspects of their earlier work together and on-going projects, the threesome have twisted all elements into a whole new trespass of sound with plenty more fresh and creative animosity loaded craft involved.

A teaser of the band’s debut album due for release in November, No More No More is a carnal assault of sound; a track as primal and feral as it is skilfully manipulated and manipulative. It scowls with contempt from the first caustic surge of guitar, its sound a scuzzy yet precise blur inciting just as irritable intent from senses harrying rhythms. Voldrønning’s familiar roar intensifies the antipathy of sound and emotion, sharing greater toxicity to the wounds already incurred from the band’s raucous enterprise. Even so there is an infectious side to it all which quickly had hips swinging and limbs punching with zeal.

However you drape the track, it is rock ‘n’ roll rock at its primal best; punk rock to arouse the senses and spirit and the sign of big exciting thing to come from that impending album and we suspect for the band itself in its wake.

Check out the video for No More No More on our Video Selector page, the single available now on Marw Melodee Music.

https://www.facebook.com/ufoesofficial/   http://u-foes.com/

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Teksti-TV 666 – Aidattu Tulevaisuus

Hailing from Finland, Teksti-TV 666 creates a sound which is quite simply a web of entrapment, every strand bred from an individual flavour but all colluding in a compelling and inescapably contagious proposition called Aidattu Tulevaisuus. Simultaneously, the album is as punk and garage rock as it is shoegaze, metal, and psych rock bred with plenty more ingredients involved. Yet tagging it is easy, pure temptation.

The Facebook page for Teksti-TV 666 lists band members at eight, the press release for the their new encounter says six; a line-up which consists of four sometimes five electric guitars. Whoever is involved, how many strings are manipulated, what is easy to establish is that the band knows how to get under the skin with songs which dance with the imagination whilst toying with the senses. As evidenced by Aidattu Tulevaisuus, each track springs a multi-layered incitement whether a sonic roar or a calm bred intimation and all evolving in the ear with deception, craft, and imagination.

Aidattu Tulevaisuus opens with Turbo-Mondeo, the song emerging like sonic steam from a hidden pipe; coming closer until in engulfs the senses and that swiftly enterprising bond of guitars begin weaving their captivating tapestry. It is an assault though which is a blend of mellow and forcefulness, brewing a more volatile state as vocals and harmonies entice with a raw siren-esque hue. Already the variation in flavour and texture is uncaged, the track unveiling its tempestuousness in between unpredictable serenity for a perpetually infectious trespass.

The album’s track follows and immediately winds something akin to My Bloody Valentine, The Jesus and Mary Chain, and a punk nurtured Asylums round ears. That inherent catchiness surging through the first track is as hungry in the second, as too another entanglement of styles within a mercurial climate of intensity and creative rabidity before Rauhankone in turn spreads post punk toxins. Chilled and chilling with its industrial lining, the track saunters along like a garage punk honed Leitmotiv merged with a noise pop engaged Sex Gang Children; again a rich and intricately built palette of hues embroiled in its inimitable and unique contagion.

Serverny swings in next on a Nintendo core deceit, a devious lure soon unleashing a sonic turbulence which in turn breeds its own drone cast contagion. Its incessant nagging is tempered by ever warm vocals tones and the surf sighs of a guitar but always there boasting its own cyclonic lure. It’s repetitious but never predictable invention, qualities matched within closing track Katko. From its first breath, the song is a thrilling trespass with its eager groove and crisply landing beats, the brooding throb of bass just as enjoyably niggly and irresistible within the rousingly hypnotic post punk/ noise/psych rock integrated majesty.

It is all superb stuff, every track an inescapable joy which will, given the chance, surely devour vastly more than passions beyond ours. Sung in the language of their homeland we cannot not give a clue to the lyrical themes involved but it matters little as Aidattu Tulevaisuus is a true highlight of the year and Teksti-TV 666 a band which deserves all the attention possible.

Aidattu Tulevaisuus is out now via Svart Records.


Pete RingMaster 21/09/2018

Copyright RingMaster: MyFreeCopyright

Ace Mafia – Self Titled EP

Without doubt for The RR one of the year’s surprises and exciting events has been the return of UK rockers Ace Mafia from a six year hiatus. Unexpected, it instantly raised anticipation, eager questions, and intrigue now fed by the release of a new self-titled EP. Offering up four slices of the band’s rousing hard/melodic rock, the release took us back to the days when we first discovered the London hailing band as if they had never been away.

Emerging in 2007, the beginnings of Ace Mafia were pretty much sown when Argentinian born bassist Geos Letona relocated to the UK and subsequently met guitarist Richie Faulkner. Writing and recording demos together, the pair in time enlisted drummer/producer Bruno Agra and vocalist/rhythm guitarist Kay Ghibli. With the line-up in place, Ace Mafia was officially uncaged and soon luring praise and attention with 2009 debut album Vicious Circle. Faulkner was already a well sought after guitarist and due to touring commitments with Lauren Harris stepped back leading to the band bringing in Ben Lundy. Faulkner’s eventual return brought the band to a quintet with the emigration the following year of Agra seeing drummer Jerry Sadowski added to the line-up. Even with their reputation ever growing though, the band eventually went on a temporary hiatus after Faulkner was recruited by Judas Priest.

Now Ace Mafia is back, a quartet of Letona, Lundy, Ghibli, and Sadowski though the new EP also features the craft and invention of Faulkner on lead and rhythm guitar. It took mere seconds to find the band rocking as boldly and enterprisingly as ever, the EP opening up with new single Snakes ‘nʼ Ladders. Its first breath unleashes a trespass of predacious riffs and intrusively imposing rhythms yet with a contagiousness which is only escalated by the distinctive tones of Ghibli. A great Stone Temple Pilots hue adds to the track’s instinctive and flavoursome hard rock nature, it’s harrying of ears and appetite very easy to swiftly succumb to with guitar imagination icing on the captivating and arousing proposition.

With its tracks seemingly written before the band went away it is maybe no surprise that the EP feels like a continuation of previous releases but as the opener and the following Face To Face alone show there is also a distinct fresh adventure revealed. The second track opens with the gentle but earnest invitation of keys, melancholy lining their charm before its main body rises up. Settling into its weighty but controlled saunter, the song smoulders with emotive and physical intensity; its heat erupting with fiery flames and guitar spun tendrils as emotional intimacy springs its own captivation.

The instantly infectious Stop Loss is a mix of the predatory and contagious, the spring in its grooves and riffs tempered by the formidable swipe of Sadowski’s beats and the brooding bassline of Letona. Grungy in its hard rock exploits, animated in its compelling exploits, the track quickly had ears hooked especially when Faulkner’s web of temptation caught light.

Closing track Breathlessness also has an ominous prowl to its magnetic seduction, instinctively tempting grooves and melodic enterprise matched by vocal and rhythmic prowess. A bouncing body and eager participation was the quick outcome to its eager suggestiveness, the song rivalling the EP’s other book end for best track honours.

Not so much more of the same but certainly more of what Ace Mafia does best their new EP is a welcome joy as is their return. There are also hints of new adventures to come which are just as compelling but just having the band back roaring is one of the year’s major pluses.

The Ace Mafia EP is out September 15th.

https://www.acemafiarock.com/   https://www.facebook.com/acemafiarock   https://twitter.com/AceMafiaBand

Pete RingMaster 14/09/2018

Copyright RingMaster: MyFreeCopyright

Chandrian Kill – Bring Out Your Dead

Maybe there should be no surprise the craft and magnetism to the Bring Out Your Dead EP, the debut release from British outfit Chandrian Kill, but it still makes for a strikingly unexpected and attention entangling introduction. The band is the creative union of vocalist Nic Whitmore who previously fronted Number One Son and songwriter/guitarist Ted Clark renowned for his past creativity as part of Moesaboa and Life in the Making. Both men have been a potent part of the UK metal scene and are looking likely to continue so as Chandrian Kill.

Clark began writing for Chandrian Kill a couple of years back; in time contacting Whitmore and luring him back from his long break from music to develop and arrange the songs. This led to the duo entering the studio this past March to record the three tracks making up Bring Out Your Dead. Subsequently mixed and mastered by Brad Tuttle (Seventh Studios), the EP has emerged a riveting proposition with its weave of predacious melodic metal with the eager animation of alternative metal aided by more than a hint of the gnarly attributes of djent.

Bring Out Your Dead opens up with new single I Collide. Instantly voice and guitar link up in a rich melodic lure as darker rhythms keenly prowl. It is a warm enticement though swiftly showing its volatile nature as irritability surfaces through djent natured trespasses and rawer throated vocals. Similarly there is an increase of fire to the melodic enterprise as the pair creates a cauldron of contrasts and emotive intimation in the music alone, Whitmore’s ever alluring vocals sharing that internal conflict within the exploration of the external one perpetually working away through our lives.

It is a captivating introduction to release and band which is as powerfully backed by the calmer but even darker Filter Off. Its entrance is a sonic mist of sorts but soon spreading for the wiry melodic and rich vocal enticement of the track to involve ears and imagination. As with the first, shadows lurk and rise in vocals and sound as the track revolves its unpredictable spiral of emotive suggestion. The turns become more voracious and antagonistic as the song proceeds, each twist a new fresh proposal to get enticed by with an increasing appetite.

Remain Alive concludes the release, the track casting its own individually melodic flames within another tempestuous climate. Its turmoil though has a stronger temper in the melodic web of the song, keeping it relatively restrained throughout though it is always bubbling away trying to break free. It is a tension crafted by Clark which is emulated in the vocal dexterity of Whitmore, the pair creating a trespass as fearsome as it is seductive.

The first in a sequence of planned EPs, Bring Out Your Dead as forcibly pleasures as it mercifully captivates. The band’s sound has been referenced to the likes of Deftones and Stone Sour, and there are moments when Skyscraper (the great nineties rock outfit) flicker in thoughts, but truthfully Chandrian Kills have a sound individual to all and just as flavoursome as all mentioned.

Bring Out Your Dead is out now via Bar3 Records.

https://www.facebook.com/Chandriankill/   https://twitter.com/ChandrianKill

Pete RingMaster 10/09/2018

Copyright RingMaster: MyFreeCopyright

Finding The Guiding Light with Tom Brumpton

Tom Brumpton is a well-known and respected vocalist/musician primarily through his time with UK progressive/technical metallers Akarusa Yami and his PR work and support with Polymath. He is also an adventurously talented film director and is poised to step behind the camera for his new project The Guiding Light. Tom has kindly given us some of his time to talk about his new film sharing the background to its inception and creation, his previous work in music and film and how to get involved in the crowd funding campaign for a proposition which is already stirring imaginations and excitement alike.

Hi Tom, our big thanks for taking time out to talk with us.

You have just launched a crowd funding campaign for your new project The Guiding Light. A great many of us will know you for your musical prowess especially as co –founder and former vocalist of Akarusa Yami and as promoter of a great many artists. The Guiding Light is a short film you are directing. Before we talk about the film, how did you first get into film making?

Thanks for the kind words, dude. The first film I directed was The Samaritan in 2015. Adam Luff, our screenwriter, and I did everything on that. It was a little mad. From there, we shot a few other bits, including a short film called Nurture of The Beast in 2016. It got picked up by a dozen film festivals and won a few awards. Our success on that laid the groundwork and gave us the confidence to make The Guiding Light.

You mentioned the new film was written by Adam Luff. Tell us a bit about Adam.

As I mentioned, Adam and I have done three short films together now. This is our fourth time working together. Adam is my best friend. We’ve known each other since we were three years old, and we’re both 32 now. He’s an award-winning screenwriter who spent time studying screenwriting in San Francisco and he’s currently working on a few projects with production companies around the world. He’s a very talented guy

That previous project together, Nurture of the Beast, received a handful of award nominations; this included one for Best Actor for you. Are you appearing in The Guiding Light as well as directing it?

I might be in the movie *laughs*! I will leave it at that. My main focus on this is that of director and producer. We talked about me being having a role in the film but felt that with everything else going on it made more sense to focus on things behind the camera.

Who is appearing in the film?

Our lead actresses are Jessica Messenger, who plays Barbara. She’s a Derby based actress and dancer who’s done a ton of great films, including Rats with Lawrence Harvey (Human Centipede 2) and Nicolas Vince (Hellraiser). We also have Martina Lopez as Angela. As soon as we saw her showreel we knew she was perfect for the role. We also have a few other amazing actors and actresses in voiceover roles, but we’re still finalising those right now.

Can you give us some insight into The Guiding Light; its story inside and outside of the film and the seeds to its invention?

Outside of the film, a big influence on the film was the death of my aunt Pat in April 2016. I spent a year coming to terms with that before speaking with Adam about making a new film, which became The Guiding Light. While we were prepping The Guiding Light another aunt of my mine, Kath, passed away. I lost a few more people I knew passed away through 2017. As time passed, it just made me more resolute to make the film and put a very dark chapter to bed.

The plot of the film follows Barbara, a world champion dancer living with auto-immune disease. Following her retirement she’s struck down by an aggressive case of pneumonia and left on the verge of death. It is here, guided by her sister Angela, that she begins reliving her happiest days before facing her pending mortality

We started talking about the movie in May 2017 shortly after coming back from the Cannes Film Festival. The whole experience was really eye opening and inspiring, and it made us stop and decide to make another film. I was getting into a better place emotionally after Pat’s death, and I felt more capable of dealing with the topic.

Obviously having worked with Adam a lot you truly know and understand his writing but how did the two of you approach and come together in thought to a story rising from such intimate experiences?

I think it comes from knowing and living with each other for so long. We’ve been friends most of our lives, and there’s an understanding there. When we sat down to start fleshing the idea out, it was a pretty easy experience. We went to a bar, grabbed some coffees and got to work. The whole thing came together very quickly, which was wonderful. Adam knew all about what had been going on with my family, and knowing me, he knew how to navigate the situation. I don’t think it would’ve been possible to do this if that understanding wasn’t there.

What has inspired the look and tone you are giving the film and indeed your directing style?

The two films I keep coming back to are The Neon Demon and La La Land. La La Land’s big sprawling dance numbers are epic, beautiful and full of life while The Neon Demon is visually stunning, with incredible lighting and music, but its haunting. I’m aiming for The Guiding Light to sit somewhere between the two in terms of tone, visuals and spectacle.

Previous films you have co-directed, The Guiding Light your first one alone? Has that brought any particular difficulties or indeed given you a freedom?

This is my first time directing a short film solo, yes. It’s been a massive learning curve, but I’ve enjoyed it a lot. There are always ups and downs on stuff like this, but I’m glad I’ve tackled it and I’m very glad I’ve had such a great support network around me. It wouldn’t be possible otherwise.

We mentioned Akarusa Yami earlier. I assume there are a great many differences between making films and music but are there any similarities which your previous adventures have helped with?

I’ve described filmmaking as like making six albums all at once. I think the biggest comparison is that it’s a great big collaboration. While on most albums I’ve done had a dozen people involved, maximum, we’re looking at a cast and crew of around 40 people on this. It’s much bigger than making an album, but at its core the rule is always the same; hear people out, have a clear vision and do your best.

Are you also involved with the soundtrack of The Guiding Light?

I have left that in the hands of a far more capable man *laughs*! Our composer, Alex Norman, is an amazing songwriter and his work has been used by Marvel Studios, Universal Pictures, 20th Century Fox and beyond. What we’re going for is a really big blend. There’s ambient music, drone music, soul music, beach pop and stadium ballads going on. If done right, it’ll be a really interesting mix. I can’t wait to see what Alex does.

How deep into the process of making the film are you?

We’re coming to the end of pre-production now and we’re set to start filming on September 23rd. I’m nervous, excited and cannot wait to get on set. There’s still a ton of work to do, and I imagine we’ll be working on things right up until the day of shooting. That being said, we have a wonderful cast and crew, and everyone so far has been very supportive.

You have launched a crowd funding campaign as we mentioned, would you give us the details for that?

Absolutely, you can find everything on the campaign at the link below! We’ve got a bunch of cool perks available, including badges, posters, tickets to VIP screenings, links to the film and the soundtrack!

 Do you have a date for the release of The Guiding Light scheduled and once out where will people first be able to see it?

We don’t have a release date as of yet, no. The plan is to arrange a premiere at a big European festival, but I don’t want to say too much until everything is confirmed. Once that’s done, it’s on to the festival circuit. The difference between the music industry, where usually singles and records drop a few months after they’re finished, a film will usually go on to do the festival circuit, which it can do for a year or two before it gets a proper release. It’s not uncommon for a film made in 2015 not to see the light of day until 2018, as an example.

Before we part can we briefly talk about your musical side? Firstly what sparked your departure not only from Akarusa Yami but pretty much from being a visual presence making music?

Sure! In all honesty, I just wasn’t enjoying being on stage anymore. It wasn’t fun for me. I loved the guys, and I loved the adventure, but my heart wasn’t in it. I’m a firm believer that if you’re not enjoying being up on stage then you should quit. Once I finished with Akarusa Yami, every time I considered making music again I felt kind of numb. I didn’t feel excited to pick up a guitar or a microphone or write lyrics or anything. The plan was always to wrap things up with the band after my last show with them in Trondheim, Norway in October 2015 and move in to filmmaking.

I heard a rumour though that you have briefly linked up with former band mate Tom Clarke on his new project?

Yeah, Tom asked me to sing on a track a while ago. I don’t know if what I did will make the final cut, but I’m proud of what we did and whether I’m on the album or not, I’m sure it’ll be great. He’s super psyched about the album, and he should be. It’s a great record.

The first of a few new adventures back in music aside from your great PR work or is film where your creative destiny is?

I’m still running Polymath (PR) and will be for the foreseeable future. A new band isn’t on the table, really. I like doing the odd song with bands here and there, that’s fun. But a full band takes a lot of time and commitment, and in all of this it’s made me think long and hard about where I want to go career wise and directing is definitely what I want to do. This has been a great experience.

Once again Tom big thanks for chatting with us. Any last words you would like to leave us?

Thanks so much for your time, and a big thank you to everyone who’s donated, shared and contributed to the film so far. It means the world to us.

Watch a teaser for the film @ https://www.youtube.com/watch?v=mDmA4WFmWuA&feature=youtu.be and check out the crowd funding campaign via Indiegogo @ https://www.indiegogo.com/projects/the-guiding-light-short-film-women-horror/x/18779834#/

Pete RingMaster 08/09/2018

Copyright RingMaster: MyFreeCopyright

Fear Me December – Crystallized

Every music lover can share a song or release which sparked the fight and defiance in them against either the world’s injustices or issues of a more intimate experience; encounters which trigger a renewed strength in their resistance. Fear Me December offer a quartet of such incitements within new EP, Crystallized; tracks which tap into the issues and resolve many suffer across varying areas. They are also four songs which have the body and spirit bouncing to soulful and boisterously rousing roars announcing Fear Me December as one rather potent proposition.

Formed in 2012 by Argentinian born vocalist/bassist Victoria Cabanellas and lead guitarist Valentin Macagno, Fear Me December began as a trio with the addition of drummer Emiliano. The band released their well-received debut EP, Who Cares in 2014 before taking the decision to relocate to the UK that same year. Basing themselves in Manchester, the band soon hits the live scene, touring the UK and playing festivals to begin sparking the same level of support and attention they garnered in their homeland. The departure of Emiliano back to Argentina could not stop the remaining pair from writing and working on their first album, the Matt Ellis recorded Between Violence And Silence released in 2016 with Chris Inman providing drums. 2017 saw the band’s current and stable line-up in place with Tony Small swinging the sticks and Stuart Woolley bringing rhythm guitar into the mix, the foursome now providing a rich statement of intent with the seriously magnetic Crystallized.

A creative tempest of aggressively melodic metal and rapacious heavy rock, the EP starts with Fight Me, a song surging with defiance and a rigorous confrontation from its first breath and the opening forceful rally of Small’s beats. It is an insurgence which is soon joined by the sonic impetus of the guitars and the darker throated threat of bass; it all uniting in a tempestuous front bursting with swift enterprise and the contagious presence of Cabanellas’ voice. Inescapably infectious without losing its threatening snarl and predacious bite, the track is superb emerging as one of our favourites this year; the web of metal and rock ‘n’ roll skilfully manipulated and manipulative.

Not Wired the Same follows, its rise less imposing but just as insistent as guitars weave an alluring invitation within a tide of hungry riffs and a throaty bassline to swing upon. With Small’s beats again sparing no measure of aggression even in the song’s slightly less ferocious charge compared to its predecessor, the track just as easily got under the skin with its lyrical exploration showing an understanding to depression and the instincts of the suicidal.

Two tracks in and the EP has proven one of the year’s most enjoyable offerings and does not let that success slip as it shares its final pair of tracks in This Is Not Ok and its title track. The first has a calmer stance soaked in melancholy but is soon releasing an instinctive catchiness rippling with energy and soulful intimation especially in its insistently rousing chorus. Its ebb and flow captivates; the caress and surges of the guitars igniting further enticement to match that of voice and another potent rhythmic provocation.

Closing song, Crystallized, is a fiery proposition; rom the off its flames veined by wiry tendrils of guitar and driven by the almost predatory touch of bass and drums. Cabanellas is again a winning lure in the midst of the bold adventure, even with her distance siren calls in the song’s relatively mellower twists. Providing a last furor of emotion and enterprise to the EP, the track is another truly magnetic and highly memorable moment, a description applying to each song and the release as a whole.

With Crystallized, Fear Me December has declared themselves ready to burst right out of the UK metal/rock scene into rich attention; with more of the same ahead it is hard to see them failing.

The Crystallized EP is released September 7th through all platforms.

https://www.fearmedecember.net/   https://www.facebook.com/fmdband/   https://twitter.com/FearMeDec   https://www.instagram.com/fearmedecemberuk/

 Pete RingMaster 07/09/2018

Copyright RingMaster: MyFreeCopyright