Evolving explorations: an interview with Cole Salewicz of The Savage Nomads

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Copyright – Grace Lightman

Since the release of their debut single The Magic Eye in 2011, UK rock band The Savage Nomads has continued to impress and ignite the imagination with their ever evolving invention and sound. Through an acclaimed album, an equally showered with praise EP, and their stunning new single Jaded Edges, the London quintet has drawn and bred major attention, including that of Mick Jones of Big Audio Dynamite and The Clash. The time feels ripe and ready for the band to finally explode onto the frontline of the UK rock scene, something their single suggests is imminent as more boundary pushing, for band and genre, songs and releases are beginning to stir. Eager to find out about the inner sanctum of the band we grabbed the opportunity to talk with vocalist/guitarist Cole Salewicz, touching on the history of The Savage Nomads, BAD, songwriting and much more….

Hi Cole and thanks for talking with us at The RingMaster Review

A pleasure…

To start off with some background how did the members of The Savage Nomads get together and what brought the band into existence?

Josh and I were two like-minded souls that were lucky enough to meet each other via a once brilliant London group called ‘Sailor No Youth’. Del Guapo, a fantastic guitarist and songwriter who lives down in Hastings introduced me when I was 15 and Josh about 13 or so. I was playing bass with him in Sailor No Youth for a little bit and he thought Josh and I might be able to link some serious tunes together. Lucky, really…

Did you have a determined intent for the band when starting out and if so has that changed over the years, or has it always simply been an organic journey of discovery from day one?

At first you know we were like any other young band; trying to make whatever we could work and thinking we were God’s gift to music. I suppose that’s a good thing when you’re really young because we went out and played absolutely anywhere to anyone and I think Josh and I were really happy to do that: making our bones playing to barflys watching Champions league football. That was a crucial time, and also a pretty difficult one for some old nomads: a few stragglers got left by the roadside! We were rewarded with a year long residency at the 12 Bar Club eventually…We’re more determined than ever now, though…

Your sound is a multi-flavoured, multi-textured beast, one which is constantly evolving, what are the biggest inspirations to your adventure would you say?

Wow, I couldn’t tell you. Thank you! Anyone who is trying to push their limits I guess, anyone trying to be the best at what they’re doing. Arcade Fire’s new LP is emblematic of that ethos: they play to their strengths but are always looking to cover new ground. The Clash was a big influence on Josh and I growing up, as was Neil Young…I love Prince, I love Bowie…you know, all those guys…we like The Cribs’ attitude…

Each release from debut single The Magic Eye through an album and EP on to your recently released track Jaded Edges have

Copyright - Grace Lightman

Copyright – Grace Lightman

all had truly individual character and imagination from themselves and other bands around. How much has the changing sound been natural evolution and how much a determined guidance from yourselves?

Thanks, I think pretty much up until recently it was all completely natural. Maybe completely out of control! The new material is a different slice of pie…I can’t wait to release more of it…I want a bus driver in Wigan to be able to connect with the songs. We are retaining who we are, because we’re not getting away from what makes us write songs or why we write the songs but I think as we’ve gotten a little bit older we understand a bit more about crafting songs if you catch my drift; because in the past we were just vomiting out our insides, getting all the ideas out in a big pot, the songs came out in a stream of consciousness (a bit like this interview)…we’re a little more composed now. We practice deep breathing!

Earlier songs and releases were seemingly bred from a post-punk seed whilst recent tracks and the new single Jaded Edges, well they have unveiled a weave of diverse aural invention and styles honed into something contagiously ingenious in our book. How would you describe your sound to newcomers?

Golden Pop: The Real McCoy.

How has your music evolved since the early days to the new release for you?

Well we can play a little more and understand more about production and about different methods of writing songs. Different sexual positions! I don’t bother looking at the past too much, I’m very proud of Coloured Clutter but I haven’t listened to it in ages: I’m only interested in The Savage Nomads at this very second and in 2014.

I believe the line-up has changed over the past years, has this been a factor to the changing direction and ever hungry invention of the band?

Probably. Everything that is meant to happen does happen. I love those guys who were in the band before, they were great musicians but we’re in a more harmonious place now.

The Savage Nomads has been a band which has us bemused in the fact you have not exploded into the full attention and psyche of the country before now. We know it is not the music, so can you give us some ideas of the obstacles facing a band which keeps them under cover, prevents them finding the amount of ears needed to be noticed?

HA! Well, I thought it was going well…slowly, slowly catch a monkey, Pete…Guys like you are making it easier. It is hard, I mean, sometimes I feel like there are a million groups in London, let alone the rest of the country. I have often thought given the effort we put in and the organisation that we uphold; we really should of started selling laughing gas…

Have you found a laziness or apathy in some quarters from the industry and the public when it comes to trying to grab their attention in what is a thick wave of emerging bands at any point in time?

Hahahahahahahahhahahaha NOOOOOOO, not AT ALL…what on earth would give you that impression?!?!?!??

Copyright - Grace Lightman

Copyright – Grace Lightman

You have certainly gained strong attention and support from the likes of Matt Johnson, Robyn Hitchcock, and especially Mick Jones. Has this given your presence any extra spice within the music world?

All of that has helped and we’ve been really lucky but it doesn’t mean anything more than a nice endorsement. Mick isn’t going to come round and write the songs for me. What it has meant though Pete, is that lovely people like yourself have taken an interest when maybe they wouldn’t of otherwise. Another piece of the puzzle…

Tell us about your connection with Mick and BAD in particular. How did he become aware of you, which led to the band playing the Big Audio Dynamite Justice Tonight Tour, and how much did you learn from that event?

That was stupendous. A great experience playing on bigger stages and completely euphoric! That Scala show on the Justice Tonight tour was one of the best nights of my life. Mick discovered us when we were 16: West London buzz I guess…a big sewing circle that place. We played his Carbon Casino club nights at the legendary Inn on the Green in Ladbroke Grove. It led to a lot of great things, we met a tonne of people that would help us out later on…met our first guitarist, a really cool kid called Francis Botu…

Tell us about the songwriting process within the band and how songs expand from their early seeds generally.

Nowadays it’s different all the time but over the last year Josh and I have gotten really into using Logic. We immersed ourselves in it and came out with over 20 new tunes. I’m writing some new songs on an acoustic guitar and the new boys in the group are really terrific, really enthusiastic so we’ve started writing collectively as a group a bit more too. Getting competent on Logic was a major breakthrough for us though…

Are you a band which continues to evolve songs right up to the final recording or do you enter the studio/record with a relatively fixed sound and intent for a track in place?

Absolutely, songs have lives of their own so you’ve gotta let them do their own thing! We recorded the latest material at Café Studios in Bow with Cherif Hashizume who we got on like a house on fire with. He was actually in a band called Melody Nelson that we used to support when we were mid-teens, lying about our age to play at the Rhythm Factory…funny who comes back into the fold!

Returning to Jaded Edges, your songs have always had a swagger, a confidence to their bodies which instantly engages, but the new song has a mischief and deep belief as well as passion which suggest that The Savage Nomads has found a maturity and even greater appetite for experiment and inner exploration. Is that how you see it?

Yeah sure! Thank you for saying so! I have definitely become an avid fan of the love song: I don’t think there’s anything I have more fun writing about. I still write about what else is going on in my life and what I see around me but love songs are the best type of songs, aren’t they?

Can we take Jaded Edges as a potent indicator of the direction and avenues the songs you are writing and those to come will a0881502226_2investigate or as we spoke of before it is more of a let’s see what they say to us situation as they emerge for the band?

Jaded Edges is a good indication, yes…but we’re always gonna throw some surprises at you…I’m very excited about the new material, the new set is mainly comprised of it so you gotta come check us live…

What is next for and from The Savage Nomads?

Acrobat training…we wanna take our live shows even further…

Once again thank you for spending time with us. Any last thoughts or revelations you would like to share?

Grilled Honey-Glazed Mackerel, Cherry Tomatoes and Boiled Brown Rice. Add sour cream and scotch bonnet pepper sauce to taste…

Read the review of Jaded Edges @ https://ringmasterreviewintroduces.wordpress.com/2013/09/05/savage-nomads-jaded-edges/

Pete RingMaster

The RingMaster Review 11/11/2013

Copyright RingMaster: MyFreeCopyright

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Horse Party – What Do You Need

This year has seen the riveting emergence of and ascending success for UK rock band Horse Party, one which simply continues with their new single What Do You Need. The two track release continues the trio’s capturing of the imagination with a blend of garage blues and indie rock, a sound which easily grabs attention and awakens a keen intrigue in their unique inventiveness. It also shows a different feel and expanse to their creativity to that on previous tracks as it continues the band’s now established presence and sound. Appealing and compelling, the single is another impressing persuasion adding further potent tempting for the band’s debut album Cover Your Eyes due early next year.

Hailing from Bury St Edmunds and formed in the September of 2011, the trio of drummer/vocalist Shannon Hope, guitarist/vocalist Seymour Quigley, and vocalist/guitarist Ellie Langley initially sparked attention with a track they made available for free download. From there support offers from Tunng, Dingus Khan, Vuvuvultures, and Tied To The Mast followed as well as a live broadcast via BBC Introducing from the new John Peel Centre for Creative Arts. Debut single Clarion Call made an even greater dent in the awareness of fans and media whilst its successor Back To Mono and the live Scarlet & Blue EP cemented and increased the stature of the band. What Do You Need is the next slice of persuasive enterprise from Horse Party and a rather convincing argument it makes too.

The Integrity Records released single takes a mere moment to awaken thoughts and eager anticipation as a single guitar laid bait HFwh1ETUc38L5egjrbheXeX6IPPYOPFw0yk9-2vkFo-lis soon punctuated with heavy beats and another equally alluring melodic guitar call. The vocals of Langley also do not wait long before adding their pleasing temptation to the easily engaging and enthralling lure of the song whilst a fiery glaze coats the raw crescendo of sound which surrounds the chorus, though it’s superb intensity and texture shows restraint around the verses for similar effect and success. There is a grungy feel to the track which arguably is less pronounced on previous songs but as it progresses towards its caustic but melodically seeded finale it provides a magnetic squall of scuzzy pleasure.

The song is accompanied by See Wider, an acoustic embrace upon the ear with a delicate breath to its sound and the great vocal charm. The song simply smoulders with melodic beauty, its depth and craft an increasingly irresistible enchantment the more time spent in its brief but warm arms. It is a glorious seduction, a tantalising persuasion which in many ways is a stronger ignition for the passions than the lead song.

What Do You Need does not reach the levels of certainly Back To Mono but still shows Horse Party as one of the more exciting and adventurous bands to emerge over recent months. Their album simply cannot come soon enough.

www.horsepartyparty.co.uk

http://horsepartyparty.bandcamp.com/

7/10

RingMaster 09/11/2013

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Haarts- Article Way

Haarts pic

Making their debut with first single Article Way, UK indie rock band Haarts present themselves as a rather enterprising and intriguing proposition, one with a magnetic presence soaked in rich promise. The single is a dramatic entrance though one which seduces rather than demands attention with the result ultimately the same, full persuasion. It is a potent encounter, one which places the band firmly on the radar.

Article Way is the first of a trio of singles to be released and is an impressive start for a band whose founders met at secondary school. Since starting the Lake District hailing quartet has built a strong local reputation for their live performances, shows which has seen the band regularly playing 100 minute live sets in pubs and clubs. Their sound is a dark but vibrant form of indie rock, its brooding tones musically and vocally reminiscent of Editors but fuelled by a refreshing energy which sets the band out from most. Produced by Bryan Wilson, the single leaves a very healthy appetite for the band in its wake and a hunger for their upcoming releases.

The opening sharp shard of guitar instantly brings Article Way into focus especially when the expressive baritone vocals of Phil Hampson join the welcoming embrace. Shadows are soon infiltrating the crystalline breath of the song through the heavy bass and rhythmic caging of the drums but equally as it expands the track unveils an acidic melodic elegance and tempting which fires up the emotions. The body of the song is cavernous, offering a deep expanse of emotive resonance around the thumping heart of its declaration and almost exhausting climactic atmosphere. It is an enthralling provocation of the imagination and an immensely pleasing lure into the band for thoughts and passions.

Though only one song, Article Way suggests that Haarts is an emerging presence with extremely potent horizons ahead of them, roll on the next single…

http://www.haartsofficial.com/

9/10

RingMaster 09/11/2013

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Common Tongues – Beasts

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UK indie folk band Common Tongues continue to impress with their releases and now look at the end of the year with another thoroughly enjoyable single. Beasts is a magnetic little slice of melodic enticement, a song which reinforces all the good work built through previous unveilings and confirms the rising stature of the Brighton band.

From the release of their outstanding debut, the Jumping Ships single of 2011, Common Tongues has grabbed the imagination of fans and media alike across their live performances and releases. 2013 though has been their biggest year to date, the Solitary Thinker single starting it off in impressive style. The band built on that with critically acclaimed performances at the Secret Garden Party and Cambridge Folk Festival, as well their own successful shows and recently playing support for The Villagers. Now Beasts ensures the year comes to a pleasing close for the band and their fans.

An emotive ambience spreads around the ear at first instantly joined by the impressive vocals. It makes a compelling introduction to Beasts, a start which is enhanced by the slow dark call of the bass and gentle vocal harmonies, both eager yet restrained. With keys and guitars stepping forward with a suggestive breeze and country twang respectively, the song is soon filling the imagination and emotions with a mesmeric array of small but distinct twists and musical turns within a folk bred enterprise. The song never erupts into the festivities hinted at but just tenderly coaxes the senses and passions to enlist in its magnetic persuasion.

Beasts is a fully enticing treat, maybe not the strongest release from the band but one which continues with strength the impressive fascination of Common Tongues.

http://www.commontongues.co.uk

7.5/10

RingMaster 09/11/2013

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City Of Ashes – All We Left Behind

City Of Ashes Online Promo Shot

Alternative rock band City Of Ashes started off the year in fine style with their debut EP, a release rich in promise and accomplished craft to suggest the UK band as a bright emerging spark in British rock. Now the Sussex quartet are seeing out the other end of 2013 with an equally attention grabbing release in first album All We Left Behind. Consisting of twelve vibrantly emotive and melodically potent tracks, the release is a continuation of the introduction made through the Then There Was A Hand In The Darkness EP. It may be a small expansion of the impressive starter but makes a firm confirmation of the band’s strengths whilst providing an engaging presence.

Formed in 2009, the Eastbourne band took little time in honing their sound and taking it to stages across the South East and subsequently the country. Simultaneously their fanbase rose as the band shared stages with bands such as Skindred, Exit Ten, Polar, Shadows Chasing Ghosts, Fei Comodo, Hildamay, Young Guns and many more. The Then There Was A Hand In The Darkness EP brought Orion Powell (vocals), James Macdonald (guitar), Dan Frederick (bass), and Dan Russell (drums) into sharper focus within a brewing awareness of their expressively impacting sounds as paraded on the release and you can only suspect that the returning Matt O’Grady (Deaf Havana, You Me At Six, Don Broco) produced album will reinforce and push further that recognition.

It is fair to say that All We Left Behind has not made a major leap on from its impressive predecessor but certainly shows that City Of Ashes Cover Artworkthe band has a range of songwriting depths and songs which have a wide high quality base to spring from. From the short intro instrumental Initia, the album flows into the dramatic Ode To Innocence. Guitars coax the ears in sonic angst from the start whilst the compelling bass line seeds strong intrigue into the emotive narrative of the song musically and vocally. There is a Placebo edge to the sound and voice of Powell, as well as a feel of Mind Museum and Funeral For A Friend which adds spice to the strong voice and design of the song. It is a smouldering enticement with fiery bursts of passion which only accentuates its persuasion and makes a deeply satisfying start.

Next up Falling Star takes things up another level, the guitar coaxing which starts things off immediately riveting and soon given extra potency as persistent beats and the continually engaging vocals of Powell join the tempting. The first stretch of the song reminds of Waiting For The Weekend by The Vapors but soon finds its distinct character as the guitars expands their melodic arms and intensity unveils its weight and emotion. The song never explodes into dramatic action but offers a persistent almost nagging declaration which is very easy to devour and want more of.

Both Recovery and In Retrospect present a lingering enticement, the first a gently building slice of hard/alternative rock with a slight Manic Street Preachers essence to its evocative flavouring and the second a reserved stroll of provocative melodic textures and emotional bait. Neither matches the opening pair of songs but still continues the album’s weighty call upon thoughts and appetite whilst The Highest Point Of Living provides a tender ballad of fine vocals and chilled guitar suasion which from a decent start grows bigger and more impressive, especially through melancholic strings and the excellent tones of Powell, alongside band harmonies. It is a song which inspires tingles in its latter climactic parts and leaves the senses and emotions ignited in appreciation and pleasure. The song seeps into next up Brand New World where the band creates another healthy slice of alternative rock with a melodic pop glaze. It does not set fires in the passions but still adds to the flavoursome richness flowing through the release.

Across the likes of Decay and Dorian Gray, City Of Ashes keeps attention firmly locked in their direction even if the album has lost some of the potency found in its first half, the skill of the band and the craft of songs an attractive constant. Alongside those though the rhythmic tantalising of Masks and Waves, with its dark prowling shadows provided by the bass a conflicting yet complimenting union with the sonic breeze and melodic stream of invention, bring All We Left Behind to a formidable closure. The album leaves a strong taste for City Of Ashes and their inventive sound even if maybe it does not have that spark or ingredient yet to send the passions into full ardour. The feeling that this trigger is waiting within the band’s horizons is impossible to dismiss and something to add spice to the suspected rise of one very promising band.

www.facebook.com/cityofashesband

7/10

RingMaster 11/11/2013

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Digits – Acquiesce To Violence

Digits Online Promo Shot

From its opening seconds Acquiesce To Violence, the debut EP from UK rock band Digits, scowls and roars like a close cousin to former southern England alternative rock/heavy metal pioneers Reuben. The release never takes its foot off of that pedal right through to its conclusion and though the North East quartet has some way to go before being comfortably mentioned in the same level of acclaim, their introduction certainly suggests that they could be on the right lines. The EP is a pleasingly abrasive and inviting fire of passion and sound, one which despite some limitations manages to ignite impressed reactions and a rich appreciation of the promise offered; a release which makes you want to watch Digits closely ahead.

The band was started by vocalist/guitarist Chris Bradley and bassist Stu Latham after the demise of previous and locally acclaimed band Cut Glass Accent. Bringing in drummer Dan Cooper and guitarist Craig Strawbridge, the duo found a ready line-up to explore and create the heavy sounds they were after, music which in the words of Bradley “is always changing and evolving; has big choruses and interesting time signatures.” A constant of live shows and writing followed, leading to the band recording their EP at the end of last year. It is an entrance which deviously gets stronger the more time spent with it, that effort allowing its full persuasion to work on the imagination and securing thoughts and emotions firmly in its and the band’s favour.

Opener Acquiesce unloads heavy riffs and troublesome rhythms from its first breath as well as a raging vocal squall from Digits Cover ArtworkBradley. Right away that Reuben reference erupts in the mind, especially as the song settles into a plaintive mid-paced assault with angst lit sonics and discord bleeding guitars exciting the senses. It is a compelling passage which stirs up thoughts and passions, though one where occasionally the vocals fail to hold their strength in the cleaner offerings and as a whole is too much like Jamie Lenman and co to recruit all the acclaim the track maybe deserves. There is inventive guitar adventure throughout the fury which is thoroughly compelling though, as is the whole ever twisting range and exploit of the song. It all makes for a formidable and incendiary start to the release, one soon matched by its successor.

Golden, the new video single, makes a less forceful entrance but undoubtedly has all the goods to captivate attention and spark further the already awoken appetite for the band’s sound. Melodically soaked hooks and intrigue wraps around the sinewy yet reserved core of the track, the mix a tantalising lure ridden by the lyrical antagonism and vocal expression. The song is not quite the equal of its predecessor but easily continues the hold of the EP on emotions, its closing passage cleverly anthemic despite being just firm beats and a satisfying melee of vocal calls from the band before arousing one last blaze of sonic enterprise.

The virulently contagious enticement of the opening to Visceral is magnificent, arguably the finest moment of the release; guitars and bass entwining the ears in a rivetingly virulent web of grooves and acidically enhanced hooks. It is an irresistible initial enslavement which almost causes a groan when the song steps into a mellow if sturdy caress for vocals to begin their narrative. A dual vocal attack ensures the quality is retained and then inflamed by the sonic flames and melodic toxicity which fuels the riotous invention of sound to follow. The track ebbs and flows perfectly and never relinquishes its grip on the now hungry reactions to song and release, and though the EP continues to be a seemingly heavily Reuben influenced encounter it makes a feisty persuasion.

The following Violence is another more than decent proposition but one which has too many elements similar to previous tracks on the release, grooves and riffs which make you double take on which song you are in. Its caustic melody encased parts though stand individual making the track a worthy companion for the ears and its accomplished body is another meaty encounter for thoughts to dwell on and find satisfaction from.

Acquiesce To Violence is completed by firstly the radio edit of Golden, which is annoying to be honest, the omission of the ‘profanity’ of the original just making the track sound like it has a stutter, and lastly Livers, a song which has a swagger to its presence and an appealing mischief to its enterprise but is not a patch on the first quartet of songs. Digits has presented a richly satisfying and strongly exciting debut, one which shows this is a band in evolution but thrillingly going in the right direction. It is hard not to suspect that their future will be full of aural adventure and inventive craft, the band breeding a promise which anticipation has to watch.

www.facebook.com/Digitsuk

7.5/10

RingMaster 11/11/2013

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FALLING RED have unleashed new video single in preparation for new album ‘Empire of the Damned’

Falling Red Online Promo Shot

BRIT ROCKSTERS RELEASE NEW VIDEO SINGLE AND STUNNING NEW ALBUM!
Within just three short years, rising rockers ‘Falling Red’ have taken their high octane fist pumping brand of Rock from the backstreet clubs to the legendary Hammersmith Apollo! Now, with further fire in their bellies, Falling Red set loose their brand new video single ‘We Escaped A Cult’, which is taken from their forthcoming album ’Empire Of The Damned’. ‘We Escaped A Cult’ is already stirring up the senses as Empire Of The Damned’ lies in wait for its unleashing for public consumption on Monday 27th January 2014.
 
Formed in 2007 and hailing from Carlisle, Falling Red have already acquired a stellar name for themselves for their intoxicating blend of post-sleaze metal with just about every rock publication, from guitarist magazines through to national rock press such as Classic Rock, Rocksound, Metal Hammer have reviewed, interviewed or supported the band. However everything that the band has achieved has been born out of sheer hard work. The rampant rocksters  cut their teeth by playing just about every sweat-drenched flea pit from the highlands in Scotland to the pits of Southern England. After over three years of hard gigging, living out of a tour van and crashing on friend’s floors, the foursome are finally beginning to reap the rewards as word on the band is now spreading like wild fire. The band’s show have now increased in both venue size and numbers coming, as new fans are checking out the most talked about British band in years.
With a glowing reputation for exhilarating live shows the four-piece soon racked up invites to play both Hard Rock Hell & Hammerfest, the band duly obliged and left audiences with memorable high energy performances. Supports slots with Skid Row’s frontman Sebastian Bach, followed and Falling Red upped their game both on & offstage. Due to the their growing status the band were hand-picked as main support to the meteoric rising rock crew Steel Panther. Falling Red killed it again and left the stage every night to mass applause and with thousands of new fans wanting more. Falling Red toured again in March 2013 with a Headline tour which packed out 02 Academy2 venues. After another successful tour, the band bedded down and began to work on their follow up to their debut album ‘Shake The Faith’ (2010). Falling Red decided to utilise the Pledge Music platform for their sophomore album ‘Empire of the Damned’, it was launched on 4th March 2013 and reached its 100% funded target on 19th March, this is quite an achievement highlights the strength and loyalty of the band’s fans.
The album is now fully completed and has been recorded by Matt Elliss (The Black Spiders, The 1975) and mastered by Pete Maher (U2, Rolling Stones, Linkin Park,). ‘Empire of the Damned’ soars with high-energy melodies laced with dark aggressive undertones, the record is rammed with eleven potent cuts and is loaded to the nines with contagious hooks. Look out for the new video single for ‘We Escaped A Cult’, along with a series of headline tours in the UK & mainland Europe – see  www.falling-red.com for updates.
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