Audio Poets – Make a Scene

artworks_RingMaster Review

Such the almost scattergun diversity escaping Make a Scene there are times you wonder how it works with such coherent unity but it does and what is on offer is one gloriously rousing and dynamically imagination incitement for ears and emotions. The new album from US rockers Audio Poets, it is a thumping merger of pop punk, alternative rock, and unbridled rock ‘n’ roll, to try and slim it down, which leaves an increasingly greedy appetite breathless for more.

Formed in Dallas as 2014 made its goodbyes, Audio Poets quickly hit the live scene the following year, playing their first show in Buffalo with Rookie of the Year. Debut EP Colours had its successful release the following month before the quartet spent the spring of 2015 recording Make A Scene. The latter months of the year saw the album uncaged and the band relocate to Los Angeles, as well as hungrily hitting the live scene across the US. The UK and Mainland Europe are now in their live sights for 2016, the band ready to pounce on the already eager reactions to the galvanic sounds and the quickly impressing adventure of Make a Scene.

Recorded with producer Geoff Rockwell (Forever The Sickest Kids, Memphis May Fire, Crown The Empire), the band’s album swiftly hits a rousing plateau with opener The Anthem. A scuzz lined guitar makes the first invitation with its sultry hues, the lead vocals of guitarist Chris Durio quickly adding their punch to the attitude loaded proposal. As the track develops there is no escaping the potent and enjoyable Rage Against The Machine essence to the track, it coming bound in just as appealing stoner-esque grooves from the fiery guitar enterprise of Bru Whitley and Durio who create a magnetic web around the increasingly defiance loaded narrative and vocal tones.

It is a riveting and contagious start to the release but soon overshadowed by the outstanding Wake Up. Straight away that variety in sound and imagination is arousing ears and thoughts, the second song bounding around with pop punk energy and revelry whilst casting an aggressive CIV like snarl and melodic tempting. There is a touch of UK band Hawk Eyes to the romping escapade too, enslaving hooks aligned to rowdy but controlled dynamics colluding excitedly with the darker inviting prowess of bassist Mike Knight and the sinew swung beats of drummer Landon Jett.

Next up Not My Time is a triumph to match the last, this time the band exploring a My Chemical Romance meets Fall Out Boy like theatre of invention and creative mischief. Feet and hips are soon seriously involved with the more restrained, compared to its predecessors, yet feistily swinging canter of the spellbinding song and its unpredictable invention. There is a serious urge to dive right back into the track after its conclusion, though that is soon diverted by the punchy roar of Burn and after that, the album’s Marilyn Mansion scented title track. For the first, Durio mixes his strong clean tones with more rap bred vocal jabbing, though this time The Kennedy Soundtrack is a closer hint to the adventure of sound and voice on offer. As the song evolves between standing toe to toe with grouchy agitation and seducing with poetic melodic infectiousness, a touch of Lost Prophets slips into the captivation, that one more arguably familiar colour which, as within every song, simply helps flavour something openly unique. Next up Make A Scene flirts with and barges across ears with a virulence of craft and sound which again has the body and emotions subservient; electronic and industrial ingredients as powerfully persuasive as the punk infused rock ‘n’ roll at its heart.

Fiery interlude Space is more the doorway into a new turn to the album than a break, its cosmic air a progressively textured tempting for the imagination before Revolution stands tall and defiant in attitude and sound. Featuring Jay Miller of Texan band Drudge, the song is a brooding maelstrom of imposing rock ‘n ‘roll spiced with melodic hardcore imagination and an array of intriguing sonic colours and styles. It easily holds attention and enjoyment tight and leaves satisfaction full though it is maybe not as inventively bold and tenacious as earlier songs, a success found by the equally weighty emotive and tempestuous embrace of Wounded Eyes. Mixing a rich blend of varied metal infused rock flavours, the track is again an encounter fulfilling all wants and hopes if without quite breaching the same plateau the album set in place early on.

Do You Feel It (Now) brings a feistier and in some ways creatively livelier proposal with its tapestry of styles soon after, vocals and sounds from every corner of the band helping draw physical participation before closer Make It Through, escorts ears into a broader electronic landscape that sees the album go out on a potent high.

For personal tastes the album produces its richest and most ingenious mastery across the first five or so tracks, exploring more emotively shadowed and intensive depths to matching success thereafter, and from start to finish Make a Scene is one irresistible and rousing temptation from a band surely heading towards major attention.

Make a Scene is out now through most online stores.

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Pete RingMaster 07/02/2016

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Odyssey – Voids

Odyssey_RingMaster Review

Feeding the imagination as boldly and adventurously as it does ears, Voids is quite simply an enthralling kaleidoscope of invention and craft. The ten track encounter is the new album from US progressive instrumentalists Odyssey, a Spokane, Washington based trio who are no strangers to acclaim thanks to their striking sound and creative dexterity. This new offering though simply towers over all that came before and other like styled bands around with in its multi-faceted aural emprise.

Emerging in 2007, Odyssey has increasingly impressed through a pair of albums in Objects in Space (2009) and An Abstract Existence (2011) as well as a trio of EPs in Schematics, The Conscious Device, and The Turning Tide; the last two splitting Voids and the band’s last album with the latter igniting the senses in 2014. As no better evidenced than within their new endeavour, the threesome of guitarist Jerrick Crites, bassist Jordan Hilker, and drummer Lukas Hilker sculpt exploits and scenarios which are as melodically spellbinding as they are tenaciously imposing, at times even carnivorous in their snarl and dynamics. Excesses are also conspicuous by their absence, not something which can always be said about instrumental metal and rock, but the individual skill and invention of each member is never hidden away either. The result, taking Voids as proof, is a gripping and ravenously boisterous collection of imagination fuelled canvases for the listener’s own thoughts to play within.

cover_RingMaster ReviewEmerge. Evolve. Adapt. opens up Voids, engulfing ears in a sonic mesh around the instantly flirtatious bass and thumping beats adding inviting bait. The track is soon strolling along with a vibrant air bound in sultry tendrils of guitar though, but an easy going proposal soon evolving into a more agitated and addictively volatile passage as riffs and beats chip away at the senses as the bass offers its throatier support. Continuing to twist and turn within a landscape of intrigue, every one of the song’s five minutes is a suggestive narrative to be revealed and captivating drama to explore. It is a glorious start to the album, like a portrait of a meeting between Arcade Messiah and Chimp Spanner with Native Construct whispering amongst them.

That is a description which often applies to the release, though the Odyssey style and imagination defies any direct comparisons as shown by the sterner but no less resourceful character of Negate The Infinite. Both Hilkers create a frame around and a floor of addictiveness for the enterprise flowing from Crites’ strings; the union a virulent proposal which is as imposing as it is seductive and irresistible to the imagination as equally so in the creative nagging of Like Moths to the Flame. Darker again, the song is a frontline of cantankerously gnawing riffs and a bestial bassline tempered this time by the lighter touch of sticks on skin and the sonic persuasion of guitar. As its title suggests, there is persistence to the song which will not desist, an undeterred drive and repetitious temptation which gets under the skin as a rhythmic flickering intermittently escalates with the same successful intent.

Through the frenetic virulence of Motives and the ethereal elegance of Echoes, the band nudges thoughts into new escapades with their creative hints. Both tracks again cast a sublime mix of contrasting textures which would be at war in the hands of others but here simple embrace and revolve around each other. The latter also has a reflective lustre which charms until Before There Were Eyes To See comes from the other side of light to take over with its dark intimidating shadows and predatory wave of riffs and beats bound to another sinisterly alluring bass incitement. As expected but always unpredictable, each piece of music takes ears and thoughts through a creative gest that has both enslaved and bold in their interpretations, visions that enjoyably change with every listen such the depth to the musical narratives offered.

The Plot Thickens is a rousing slice of rock ‘n’ roll but of course one which from its anthemically invigorating first breath soon opens up into a provocative climate of hint loaded musical espionage keeping body and mind on their toes before making way for the calmer radiance and spatial yet intimate temptation of Delineation. Once more shadows crowd in close to the sonic sun of the track, making their impact as heavier and grouchier elements seeping into the dramatic and increasingly clearer psychosis of the track.

The melodic hug of Left Unspoken brings an oasis of perpetual calm to ears next, though there is still a shadowy lining through the melancholic tone of the bass, before Voids is concluded by its outstanding title track. If you want a physical clue to the album the song has it all, all the attributes and diversity summed up in its maelstrom of genre skipping, imagination igniting revelry that gives expectations no inkling of where it is going to go or the turns it is going to fluidly and infectiously take.

The album is quite superb, almost a brand new adventure with every listen such its textural and suggestive depths, and an early benchmark for progressive adventure for the year ahead.

The self-released Voids is available from February 5th @ http://odysseyspokane.bandcamp.com/

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Pete RingMaster 05/02/2016

Copyright RingMaster: MyFreeCopyright

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Sealclubber – Stoical

pic Richard PJ Lambert

pic Richard PJ Lambert

Bludgeoning the senses with the same barbarism as its creator’s name would suggest, Stoical is a nastily and invasively compelling proposition that leads to a greed for more. The release is the debut album of UK band Sealclubber, a tempest exploring the potential found in the band’s first release back in 2013 whilst breeding new intrigue and promise to get wound up in. As their sound, the album is as corrosive as it is adventurously imaginative and certainly not going to be for everyone, but with its ferocious blending of sludge metal with crust infested hardcore and post metal ambiences, it is a proposal confirming Sealclubber as an impressively challenging incitement for ears and emotions.

Hailing from the Black Country, the Sealclubber stepped forward late 2012 and swiftly sparked attention and acclaim in the underground scene the following year with their Witch Hunter Records/ Carnage Club released Sticky River EP. Also nudging mainstream media focus in certain quarters with their first offering, the Stourbridge quartet backed up their potent emergence with a praise luring live presence which soon spread across the UK. 2015 was a quieter affair with line-up changes and setbacks but now the foursome of vocalist/guitarist Simon Blewitt, guitarist Joe Parkes, bassist Stephen Williams, and drummer Simon Ingram are ready to infest the world with their sludge punk trespasses through Stoical which is unleashed courtesy of North American label Medusa Crush Recordings.

sealclubber_art_RingMaster ReviewBand and release consume the senses in epic style with its nine minute opener Tales of a Romanian Horse Whisperer. Instantly an atmospheric bitterness confronts ears as climate and guitars boil with their relative intent until it all explodes in a ravenously rousing hardcore/punk ‘n’ roll onslaught led by the throat bred squalls of Blewitt. No mercy is given by the raging yet it is soon showing another side to its nature by twisting and turning in on itself with stabbing rhythms and a creative discordance which is not that far removed from post punk and math core agitation. The track continues to masterfully and enthrallingly roar through a host of flavours infused into its volatile hardcore trespass; every new turn the giver of mouth-watering enterprise and imagination and a ferocity of heart and attack. At one point the guitars are spiced with a spicing which is best described as Devo-esque but as everything, rabid through to atmospheric, it evolves into another freshly magnetic intrusion in the blink of an intimidated eye.

The outstanding start is matched in sonic kind and rhythmic antagonism by Haima; a predatory violation led in, amidst a collage of guitar cast venom, by the dirtiest primal bassline likely to be heard this year. Tar thick yet blisteringly athletic, the track infests body and psyche with its creative vehemence and raw vocal animosity. It too provides a horde of riveting hooks and anthemic turns from within a destructive fever before stepping aside for Catalogue of Failings which uncages its own doom seeded depression of tone and emotion. Like a hungry bog on Dartmoor, the song sucks the senses and imagination into an unforgiving animus of emotionally corrupted sound, proceeding to prowl around them with hostility thereon in whilst suffocating any light or hope which might make a defence to the thrilling creative pestilence.

Leaving a lingering impact, the song slips into St Jude’s Waiting Room, Dead For 12 Days and a haunting imagination sparking interlude/detour resembling a limbo-esque netherworld which inspires different ideas to its presence with every listen. It in turn flows into the stark and cold landscape of Vows of Silence and initially another great post punk like coaxing before the track descends on the listener with rancor and corrosive intensity. The song takes a moment out as the wake from its initial assault continues to resonate before exploring a tempestuous and emotionally provocative post metal/ambience sculpted landscape which in turn only builds itself up into another fearsome outpouring.

I Only Desire The Things That Will Destroy Me In The End completes the release, its twelve minute instrumental a darkly cinematic and emotional flight through sinister atmospherics and melancholic ambience. It too is a canvas for the imagination to adventurously explore whilst closing Stoical with a fiercely dramatic yet seemingly accepting embrace of emotional suffering and turbulence.

In some ways Stoical is an incitement of two halves; its first trio of tracks are a gloriously and creatively volatile theatre of craft and virulent enterprise with the final three immersions into dark and debilitating depths and emotions. They are two plateaus though which thrill and increasingly impress as Sealclubber more than live up to their early promise and the more demanding expectations bred within the anticipation for its release.

Stoical is released on February 5th via Medusa Crush Recordings on CD, limited cassette form, and digitally with a vinyl version possibly on the cards later.

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Pete RingMaster 05/02/2016

Copyright RingMaster: MyFreeCopyright

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Meter Bridge – It Was Nothing

Meter Bridge _RingMaster Review

It Was Nothing is the new single from Canadian duo Meter Bridge and a song which again shows the ability of the band to create a sound seeded in eighties synth pop but equally revelling in the genre’s modern invention. It is a quality which was already in evidence and acclaimed in the band’s debut album Slow Motion, from which It Was Nothing is taken, but it never does any harm to remind especially with virulent infestation of ears like this.

Meter Bridge single cover_RingMaster ReviewMeter Bridge is the pairing of Richard Kleef and Jill Beaulieu, a Nelson based duo which came together in 2011 and quickly began picking up a keen following. 2014 saw the release of their self-titled debut EP with Slow Motion coming a year later, both stirring up potent attention on the international electronica scene. The twining of their vocals within rich electronic caresses alone had ears enticed whilst the melodic simmers and livelier eruptions explored only added to the inviting drama of sound in especially the latter release, as now epitomised by It Was Nothing.

References to bands such as Kraftwerk and Ladytron are seemingly a regular comparison to the band, and understandable as the single strolls in with dour yet smiling bass pulses aligned with a flowery breeze of melodic tempting. The contrasting yet potent pairing of Kleef’s dark tones and Beaulieu’s warmer vocal caresses makes for quick magnetism, they enhanced further by a spice of variety which also tempts from within the music as a touch of Landscape smoulders alongside a Human League like air which bridges the two eras of the Sheffield band. Throw in a splatter of Thomas Dolby and Hot Chip and you get a scent of the rich enticement of It Was Nothing.

The single comes with a remix by Rodney Cromwell; a version which in many ways gives It Was Nothing a new side to its character rather than just a makeover. It opens with an Altered Images like electro shimmer which soon takes on a more Visage like nature musically and a Calling All Astronauts sounding adventure to the leaner vocal mix and rawer textures. Though not a big fan of remixes, the track certainly held the ears and appetite as firmly as its source and helps give a new nudge to those still unaware of the band’s synth pop adventure.

It Was Nothing is available now as a name your price download @ https://meterbridgeweatnurecords.bandcamp.com

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Pete RingMaster 05/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Massacres – Brutus

Massacres Promo Shot_RingMaster Review

With a sound that does a fair job on the senses replicating the suggestiveness of their name, UK hardcore quartet Massacres have announced their introduction in ferocious and heftily enjoyable style with debut EP Brutus. The four-track fury is a merciless tempest of hardcore antagonism and belligerence loaded with punk rock hooks and a rock ‘n’ roll breeding which just compels ears and incites the body. Bolder things may be heard this year but for thoroughly exhilarating and fresh imaginative hostility, Massacres hits the floor running with Brutus.

Formed in the Spring of 2015, Massacres swiftly set about creating a collection of ravenous tracks before unleashing them on the live scene to increasingly fevered and acclaiming responses. Soon references were understandably offered to the likes of Every Time I Die, John Coffey, Pissed Jeans, and Cancer Bats; spices easy to bring up whilst listening to Brutus which the band began working on last summer. Uniting in Stakeout Studio with producer Jason Wilson (Reuben, Fightstar, The Ghost Of A Thousand), the London quartet emerged with an EP that barges into ears, bullies the senses, and ignites a keen appetite for more.

Massacres Cover Artwork_RingMaster ReviewOne Of The Boys launches at ears first, a nagging sonic scything from the strings of guitarist Kris Mayzee colluding with the similarly stabbing vocal spikes of Dave Rogers as the track gets a foothold in the psyche straight away. Soon venomously prowling the senses with urgency and grouchy invention, bruising intensity and burrowing hooks aligning for a potent lure, the song irritably stomps like a mix of Every Time I Die and Reuben with the additional animosity of Cancer Bats yet equally Norwegian band Shevils and British noise fiends The St Pierre Snake Invasion are nudged into thoughts to describe the predominantly individual flavour of the song and indeed subsequent release.

It is a rousing and increasingly addictive offering powerfully backed by the rawer viciousness of Death Knell. Again hooks and grooves are a persistent tonic in the volatile climate and character of the track; grooves especially spicy and insatiably alluring as they wind around the pleasing vocal variety shown by Rogers. The bass of Martin Walker is a bestial incitement, though it too develops an irresistible swing at times as it bridges the scorching temptation of guitars and the insistent brutality of Andy Sartori’s rhythmic swings.

New single Everything I Want To Do Is Illegal rages next; exploding off of a singular tendril of guitar bait with robust rhythms, fiery grooves, and the uncompromising emotive squalls of Rogers. As Max Raptor like infectious as it is The Ghost of A Thousand like choleric, the track is a dynamo of energy, hook loaded enticement, and unbridled emotion with the band giving their virulent all in craft and arousing intensity.

To The Victor, The Spoils brings the release to a close by crowding in on ears with a controlled barrage of predatory rhythms and vocal crabbiness amidst intrusive sonic enterprise. Within the stormy confrontation though, kinder melodies hang in the shadows where equally a catchy gait lurks, both waiting to escape the combative swell of sound and discontent. It is a intent that never occurs as such but all the time they add inescapable imagination to the unforgiving animus of the song.

Brutus is a strong and, more importantly, thoroughly riveting entrance by Massacres on the UK hardcore scene, an area of ferocious rock ‘n’ roll easy to see the band growing to be a driving force of if they fulfil their potential.

The Brutus EP is available through all platforms on from February 5th.

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Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

More Than Most – Impossible Is Temporary

More Than Most Promo Shot_RingMaster Review

Since forming in 2014, More Than Most has become an eagerly followed and appreciated live proposition which has lit up stages alongside bands such as Mallory Knox, Charlie Simpson, The Blackout, Bullet For My Valentine, Skindred, Funeral For A Friend, Finch, and While She Sleeps as well as graced the likes of the Takedown and Camden Rocks Festivals. Now the UK quintet offers their alternative rock with electro tendencies to a broader recognition and attention with the release of debut EP Impossible Is Temporary.

The four-track encounter is a magnetic affair fuelled with passion and open emotion in an resourcefully sculpted body of melody rich sound. It is not an encounter necessarily announcing the London based band as the next big thing yet but it certainly leaves a more than contented appetite for their imaginative and lively offerings. It has a variety to its spices which alone captures ears, a diversity not too surprising given the cultural background and influences of its creators. Guitarist Leandro Leonardi comes from Brazil, moving to England to pursue music, whilst bassist Mok Saib and drummer Cole Solem are respectively Algeria and US bred. With vocalist Izzy Stylez and guitarist Daniel Allan, both UK born, completing the line-up, More Than Most create a colourful creative clamour and emotive tapestry which allows Impossible Is Temporary to shine in potency whilst giving strong enjoyment.

More Than Most Cover Artwork_RingMaster ReviewRecorded with producer Justin Hill (Young Guns, Heart Of A Coward), Impossible is Temporary quickly lures attention with opener You’re Not Alone. Straight away a melancholic keys cast melody tempts as a shadowy ambience brews around it, electronic beats soon adding to the arising drama escalated further by the alluring tones of Stylez. There is something familiar to the song but an essence which you could say is Linkin Park like which only enhances its allure as rhythms and harmonies unite with the fiery and slightly solemn flames of guitar. It is a magnetic start to the EP, a deceptively anthemic cry pungently backed up by Remember Who You Are.

The second track also enters on an electronic coaxing, this time a lively simmer of keys which soon invites bolder rhythms and tenacious sonic enterprise to invigorate an already highly agreeable incitement. There is greater energy and creative drama to the song which only whips up keen attention and a similarly eager appetite for the imagination spawned More Than Most roar. Once more familiarity does rear its tempting head as the track fuels feisty energies in itself and listener, but it only adds to the fun before Save Me From Myself emulates the mix with its own creative and melodically rowdy proposition. There is a darker hue to the shadows which line the walls of the vocally tantalising and rhythmically dynamic proposal though, their emotive tempering to the sonic flames and flowing harmonies as suggestive as the heart felt words and notes uniting in another potent persuasion.

Closing with the imposing contagion of Nightmares, a stirring song built on an irritable bassline and scything beats upon which it boils up a sonic tempest of sizzling melodies guided by the ever impressing vocals led by Stylez, Impossible Is Temporary leaves with its finest moment and impact. All songs entangle the listener in craft and appealing adventure but its finale is a roar above and alone a reason to keep a close eye on More Than Most.

Lacking a major uniqueness in identity of sound, Impossible Is Temporary is maybe not the game changer for the band though it will surely push them into new and keen spotlights. It does though make a strong and thoroughly enjoyable base to leap ahead from, and we for one are looking forward to that next step.

The Impossible Is Temporary EP is available from February 5th.

https://www.facebook.com/morethanmostofficial   https://twitter.com/mtmukofficial   http://www.morethanmostuk.com

Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Winachi Tribe VS Sense Of Danger

Print_RingMaster Review

With feet and hips, not forgetting imagination, still sweaty from the rousing temptation of last year’s impressive single Time For Love, the increasingly addictive charm and invention of The Winachi Tribe has set out to work them up all over again with its successor Sense Of Danger. The band’s new single is a magnetic and almost imposingly infectious shuffle of pulsating electronics and skittish rhythms woven into a tapestry of evocative vocals and flirtatious melodies; a proposal which simply confirms The Winachi Tribe as one of Britain’s most mesmeric contagions.

Emerging last year out of Northern D.Funk collective China White, the Warrington/Leeds based band create a funk fuelled, soul bred, dance party which has quickly drawn references to the likes of George Clinton, Massive Attack, and The Happy Mondays, they amongst inspirations to the band which equally include Sly & The Family Stone, Primal Scream, Ian Brown, and The Rolling Stones. As Time For Love and its companion Plant The Seed eagerly showed as the band’s first single, even with those spices The Winachi Tribe only uncages unique proposals and infections of sound which gets right under the skin and into every corner of the body; a quality vocalist Liam Croker, guitarist Jamie McGregor, bassist Richie Rich, keyboardist Antony Egerton, drummer Sam Tushingham, and percussionist Inder Goldfinger have escalated for Sense Of Danger.

The song opens with the raspy but inviting tones of Croker, their echo warming the way for the pulsating rhythms and electronic radiance which swiftly link their hypnotic motion with the obeying reactions of the listener. Within a few breaths the track is in control of body and thoughts, its flirtatious movement and rhythmic dexterity colluding with the atmospheric and provocative textures of keys, guitar, and voice. At certain moments it is a Tom Tom Club meets Thompson Twins incitement and in other times leaning towards a darker The Happy Mondays/Talking Heads hue but all the time an irresistible lure impossible to resist.

Accompanying the track is I Sense Danger (Everybody’s Got Their Price – Remix); a more energetic and flirtatious take on the lead song replacing the it’s shadows with livelier shards of electronic tempting and energetic tenacity. Its predecessor was a magnetic saunter, a seductive crawl through ears whereas the second song blossoms into a boisterous canter with matching elegance and compelling revelry for similar responses.

Both tracks feed body and soul, and each suggest they are just the next step in the inevitable ascent of The Winachi Tribe into one of the UK’s most greedily devoured bands.

Sense Of Danger is out now digitally on iTunes with a Ltd Edition Hard Copy also available.

http://thewinachitribe.com/   https://www.facebook.com/thewinachitribe   https://twitter.com/winachitribe

Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/