Impulsive Compulsions PPCO SAMPLER02

This month sees the next issue of the ever irresistible In The Club Magazine, the online celebration of all things DIY by Herts based Indie label Perfect Pop Co Op. This copy also includes the second volume of Impulsive Compulsions, a free album presenting more sounds and members of the Perfect Pop Co Op family in their enterprising glory.

As its predecessor, the album is a tantalising and intriguing not forgetting rousing proposition and reminder that the real heart and organic pleasures within music still breed and reside in the DIY fuelled underground. In no particular order allow us to tease you with what is on offer within another real treat from Perfect Pop Co Op, well a second treat as the magazine itself is a rather fine and fun thing too.

Earlier this year, ears and imagination were over excited by the new EP from She Made Me Do It. The band is the duo of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard and many more) and the Drenched EP four tracks of their uniquely seductive and multi-flavoured ever blossoming sound. Impulsive Compulsions 02 features one of the EP’s tracks in Broken Morning; a song from its first strum of tantalising guitar which had ears attentive and then swiftly enslaved as it opened its magnetic arms to a richer sound and the mesmeric tones of Dax. Instinctive catchiness and creative eagerness roam the song, sharing a contagious indie rock swing around one compellingly persuasive chorus. Irresistible moments with She Made Me Do It are certainly not a rare thing but few times have been as delicious as this.

 Alongside and around it, the goodness is just as potent as epitomised by tracks like I’ve Had Enough and Superslider from Tagas and Venus Overload respectively. The first is a lively simmer of electro pop rock, a bubbling slice of melodic radiance echoed in similarly warm vocals, a track which just nags at the senses with its teasing harmonics. Tagas is a solo project, an intimate exploration and reflection of its creator and the track here an embrace of melancholy and warmth with a great early Depeche Mode hue to its temptation. The second of the two is a band which released a self-titled album back in 2012 from which their contribution to the sampler comes. Their sound is a collusion of experimental and noise rock, a challenging and rewarding mix which had us mesmerised. It is raw, abrasive and persistently compelling with a great whiff of Buñuel to it.

No compilation from PPCO would be complete without a track from Reverse Family, and Sampler 02 offers up Friction from the solo project of Dermot Illogical. Melancholy also soaks the heart of this song, it a riveting piece of the individual post punk meets noise pop which escapes the imagination of its creator. The track haunts ears and imagination from start to finish but with an infectious momentum which infests hips and spirit.

Another electronically bred enticement is offered by The Scratch, the Logical PV Remix itself almost itch like in its temptation; repeat listens the only relief to its electro/indie pop antics while Andreas And The Wolf course the instincts to rock with their own wonk punk sound. Public Domain is a sizzling lure of unapologetically untamed rock ‘n’ roll but crafted with a mischief and imagination which hones it into one devilish tempting.

Even more feral in its own way is Valerie Leon (Queen of Neon) from The Bleeed, a band arising from the offshoot creativity of members of The Tuesday Club a couple years back and a song which is punk rock in its honest purity but unafraid to embrace other bold essences including a Swell Maps-esque irreverence.

Talking of The Tuesday Club, they stamp their inimitable presence on proceedings with an extended mix of their song Beat Oven. First appearing on the Boo Hoo EP, the now fully grown track is a boisterously swinging slip of the band’s eclectic rock ‘n’ roll, a sound which dips into the spices of a host of decades to create its own unique virulent recipe.

The D.O.D.O tell us it is Just a Game to stand just as tall as its sampler comrades, the song one also unafraid to lean on flavours past and present to create its provocative incitement and ear grabbing catchiness; an infectiousness just as ripe within the electronic resounding of Interesting Times from Dislocated Flowers. A dark, haunting verging on apocalyptic throb behind an evocative sample, the track simply resonates from first to last breath.

Completing the line-up of pleasure on the album is Jordan Thomas (though tagged as In The Evening on the promo sent over to us) from Jordan Thomas maybe better known as J-Rod to fans as a former member of The Tuesday Club. This too is an infective piece of sound, Thomas easily getting under the skin with his melodic amble of enterprise and craft.

And that is Impulsive Compulsions PPCO SAMPLER02, another very tasty and highly pleasurable parade of bands and projects past and present so go check out the new In The Club Magazine now @ https://perfectpopco-op.co.uk/magazine/ after all that is a damn fine read too.

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Pete RingMaster 05/04/2019

Copyright RingMaster: MyFreeCopyright

She Made Me Do It – Drenched

pic by @dcmusicvideos

There is nothing better than an encounter which immediately enthrals attention and appetite but is only scratching at the depths of temptation and adventure within. The Drenched EP from She Made Me Do It is one such offering; a release which instantly had ears pricked and the body bouncing but was just revealing the seeds to blossoming levels of imagination and seduction.

The four track release is another in a long line of rich enticement from the duo of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard, The Selecter, Bow Wow Wow, Flesh For Lulu) and one of the pairs’ most deviously tempting offerings. From start to finish it is a magnetic almost teasing fusion of dark shadows and elegant radiance bound in an equally rich mix of punk, new wave, post punk and alternative rock adventure. The successor to their 2017 album, The Frantic Legion, the compelling exploits of Drenched sees the band’s sound even more defined yet bolder in its adventure and tapestry of flavours. Through the captivation and intimation of Dax’s golden yet often almost portentously lined vocals and the descriptive yet rousingly tenacious antics of Crewdson’s guitar to the suggestive caresses and intriguing shimmers of their keys, She Made Me Do It create a captivating web to immerse in and dance with.

Produced by Crewdson and with Joe Holweger providing drums, Drenched opens up with the swiftly irresistible Bones. Straightaway post punk tendrils escape Crewdson’s guitar, their clinging hues something akin to the claws cast in the past by the likes of Leitmotiv and Sex Gang Children. Escalating these lures by the second, the track builds into a lumbering but lively stroll where Dax soon springs her own potent temptation as bass and drums steer the dark throes of the song’s canter; the punk hues of guitar only adding to its anthemic and equally predacious swing. Inescapably infectious but with that great edge of danger and intimidation, the song, as indeed the EP, needed a mere play to get under the skin and only burrowing, deeper and deeper thereon in.

The following Broken Morning is a just as skilful manipulator of ears and appetite even as it instantly reveals a much warmer and calmer nature. That is no chain to an instinctive catchiness and creative eagerness though, the song devilishly impossible to resist joining in with especially when faced with one contagion laded chorus and again a swinging energy which enlivens the body and spirit of song and listener alike. There is something, if right now indefinably, familiar to the track but a hue which only adds to its compelling design and persuasion.

Ashes is next up, electronic pulses gently but firmly resonating before the dirtier breath of the bass joins up quickly followed by the similarly beckoning strains of guitar and voice. A song which relishes its electro pop instincts as fully as its rock ‘n’ roll heart, it offers a tapestry of flavours and creative twists, all as unpredictable as the track is unsurprising in its voracious zeal and stirring enterprise.

The release ends with the melodically celestial beauty of Time, a song of intimate and spatial elegance over an earthbound spine that just as easily ignites the imagination as the siren-esque flight above.  It is a hauntingly mesmeric conclusion to a release which as we said just grows more impressive and tantalisingly by the listen. It is a heavier, more guitar driven rocker than predecessors but equally richer in its melodic and broad weave of flavours and adventure; a must in anyone’s book.

The Drenched EP is out February 1st on Catranstic Records with pre-ordering available @ https://shemademedoit.bandcamp.com/album/drenched-e-p and https://shemmdi.com/store

 

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Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

Perfect Pop Co Op Sampler – Impulsive Compulsions 01

 

As we all look for the perfect gift for loved ones this time of year, the irrepressible UK indie label Perfect Pop Co Op are giving one to all music lovers. Free with the December issue of their magazine, Impulsive Compulsions 01 brings together 13 tracks from six unique bands and seven projects past and present borne from within the Perfect Pop Co Op family; quite simply a baker’s dozen of the best and most mischievous songs and artists you could wish dangling from the stocking on your various speakers.

From start to finish, the album teases and flirts with the imagination as it dances with ears; getting off to a mighty start with Scant Regard. The band is the solo project of London-based guitarist/writer/producer Will Crewdson renowned for his work with the likes of Adam Ant, The Selecter, Johnette Napolitano, Flesh for Lulu, Bow Wow Wow, She Made Me Do It and Rachel Stamp, which he co-founded. Taken from his snare of an album, the wonderful Skipping Over Damaged Area which was released earlier this year, Destroy (We’re Here to) is a salacious flirtation of electro punk/ synth pop intimation; a viral infection which could even have the walking dead dancing to its hook spun, groove strung, guitar driven, funk sprouting machination.

It is a glorious start which sets the tone to the sampler, each track unapologetically individual in sound and character but united in DIY imagination, devilish intent, and sonic goodness as proven immediately by next up Impulsive Compulsions by Pony Virus. The band is the original incarnation of The Scratch and the track a tantalising piece of post punk shoe gaze as haunting as it is infectious. The song is a slice of weird with hues of eighties bands such as The Passage, The Wonder Stuff and Inspiral Carpets; teasing with these somewhat familiar spices in a whole new recipe sounding as fresh now as it did back in the day.  The Scratch itself provides its own piece of temptation later in the album’s playlist with Teen Idol, itself a ridiculously magnetic encounter which had us hooked from the first rumbling growl of bass. Currently on hiatus after releasing a quartet of greedily devoured albums, the band’s sound s pure pop/indie punk romping blessed with seventies DIY adventure and inescapable contagion.

Through the sinister dark electronica bred dystopia of Age of Control in a remix by creators Rogue Sector, a track which also haunts ears and thoughts whilst teasing hips to gather momentum with its electronic dissonance, and the wonk pop punk bred Limited Ambition swung through ears by Andreas And The Wolf, temptation and captivation to the album only deepened. Both bands have debut albums in the works and each has been given a rich teaser through their contributions to Impulsive Compulsions.

Andreas And The Wolf also provide the radio show which this album has mutually sprung from with Perfect Pop Co Op, all favourite artists being greedily featured over time, none more so than the following pair of Dislocated Flowers and The Tuesday Club. The first of the pair gives AudioBiological to the parade of aural independence, an invasive psych rock track inciting the body to erupt as it corrupts the senses with its imposing and invigorating instrumental incitement. Unshakeable favourites and friends to The RR, The Tuesday Club simply infested the passions with Too Pure To Live, a slow swing of a creative virus directing hips and imagination like a puppeteer. The band has unleashed numerous gems over the past few years but this track alone shows they are creating not only their finest escapades but some of that fuelling the independent rock scene.

And the goodness just kept coming, just confirming already the thought we had rattling around the brain that this is an essential, indeed must have release.  The Venus Overload kept the suggestion bubbling with their encounter Without Doubt, a sixties nurtured psych pop lure echoing the band’s major inspiration, The Velvet Underground, but with its own compelling persona.

Further into the album, the poetic drama and stark atmospheric breath of Sometimes When I Dream simply infested thought and appetite, the dark soundscape from Southdown Laundry Club, a  project created by Pete ‘Joyless’ Jones (Department S) and Andrew Trussler (Rogue Sector) as mesmeric as it is chilling.

In its own way, Dead Marchers is just as tenebrific and haunting, the track by Bleeding Soul Angels an inviting smog of psych and dark pop with a raw edge to its contagion while the following Dream boy doin’ well had the body bouncing with its punkabilly stomp. The Bleeed is an offshoot of four members out of The Tuesday Club when it was a seven strong rascal, and features the devious swings of drummer and gentleman Terry Super Cockell, who since its creation has passed away. The band has vowed to return this year and on this scoundrel of a track we for one cannot wait.

The album is finished off by firstly Waiting for the Walls to Come Down from The Dodo. A band made up of Andy Scratch, Steve Filth and John the Bassist, who released one album in 2010 before the side project was put aside, they had the body bouncing like it was on a string with their contribution. Mixing sixties pop and seventies new wave to try and describe its epidemic of temptation, the track is another in a perpetual line of major treats, the last coming with album closer Way it goes. From Reverse Family, a project headed by the reported missing but maybe we know better (wink wink) Dermot Illogical, the band have just completed their 2018 epic task of releasing 365 songs over 365 in weekly EPs, an epic adventure in sound and pleasure we are still catching up on such its size. Way it goes gives all the reasons with its Adam & The Ants-esque, swing spun chicanery for you to go check it out too and the band’s debut album it comes from, My Songs About Life – Mid Crisis.

There are a host of truly great independent labels out there right now and Perfect Pop Co Op stands right there on the frontline and as mentioned all songs and artists have been featured on the Andreas and the Wolf radio show which equally we can only heartily recommend; the album in celebration of one year of their shows and fifty issues of the Perfect Pop Co Op magazine.

The Perfect Pop Co Op Sampler – Impulsive Compulsions 01 is out December 11th free with the new issue of the Perfect Pop Co Op magazine.

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Pete RingMaster 5/12/2018

Copyright RingMaster: MyFreeCopyright

Scant Regard – Skipping Over Damaged Area

Pic by Thomas Triton

A body infesting, imagination twisting kaleidoscope to the hope and insanity of the world we shape, Skipping Over Damaged Area is the senses ravishing new captivation from Scant Regard. An album of unscrupulous hooks, electronic virulence, and guitar carved intimation, it surges through ears casting a realm of suggestion and reflection as devilish as the themes inspiring its creative antics leaving hope, fear, and sheer pleasure in its wake.

Scant Regard is the solo project of London-based guitarist/writer/producer Will Crewdson. He is a musician few can have failed to have been consciously or unknowingly pleasured by. Whether with the rock escapades of Rachel Stamp, which he co-founded, and She Made Me Do It or through his work with the likes of Adam Ant, The Selecter, Johnette Napolitano, Flesh for Lulu, Bow Wow Wow and numerous other bands he played guitar for, Crewdson is a guitarist who has been in demand because of his instinctive ability to incite and bend the imagination as well as simply ignite songs and ears alike. Scant Regard has been an adventurous showcase for his craft and skills across four previous albums, Skipping Over Damaged Area a riveting new addition to their ranks.

Exploring various shades in an overall theme “of the apocalyptic destruction and devolution of the planet we live on”, Skipping Over Damaged Area is a tenacious maze of styles and flavours glazed with a sci-fi nurtured intrigue. At times it is like a warped soundtrack to a seventies TV show such as UFO, Space: 1999, or Doomwatch but with a dark lining in its every move; corrupting hope and light at a turn, tempering their threat in the next.

The album opens up with the swiftly addictive Mostly Accidental, electric pulses exploding on impact as it swaggers into view with an almost predacious swing. Instantly electronic suggestion and animation dances and flirts on the senses, thick doomy hues underlining the brewing Westworld-esque imagery conjured in thoughts by the instrumental piece which fully comes alive once Crewdson’s guitar explodes on the imagination.

It is an outstanding beginning, one to be honest we had to listen to twice before moving on upon our first listen to Skipping Over Damaged Area but quickly matched in strength and temptation by Fuck Everything. Repeated samples of its title float across a landscape of attitude, another electronically woven tale which immerses the listener in an evolving cascade of light and dark, fun and irritancy driven by inspiring shards of guitar.

The following Ill Gotten Gains is a corruption of sound and reflection; an addiction breeding ground with melodic lures aligned to dark deeds. At times it lies somewhere between the evolution of Martyn Ware and Ian Craig Marsh’s project British Electric Foundation into their band Heaven 17 but with thicker shadows and dare we say even more infectious boldness.

Similarly Destroy (We’re Here to) has an eighties electronic edge to it around hooks and melodies which border on the salacious. Like the musical voice to a modern day Mars Attacks, the track waltzed over the senses, sending them spiralling as the imagination conjures. Simultaneously feet and hips were given a good smile wearing work out before BIGBLACKSHADES creates a conspiracy of sound and suggestion with its cold wave meets industrial espionage. Electronics and guitar again unite in a dark interpretation of life, its funkiness contrasting yet complementing the song’s voracious dynamics.

A lighter climate accompanies the outstanding Car Crash on Pluto, the track like something akin to Fred Schneider colluding with Helldorado as they glide the cosmos upon surf rock fuelled winds, while Hemi Demi courts indie rock tenacity within its electro pop enterprise as again seventies flavoured hues spice its rock ‘n roll.

Through the celestial smoulder of Traits, a track with lava hot melodies veining a volatile shimmer, and the hook carrying electro smoking canter of Sublineage Blues, ears and imagination are drawn into further incendiary drama while Posthistoric springs a more intensive atmosphere and adventure to navigate as a bubbling undercurrent of catchiness snaps, crackles and pops. All three simply tantalise and captivate as the imagination fantasises, Crime and Retribution in turn sparking the same responses with its brooding electronic groans and emerging guitar spun cold war clamour.

The album closes with Blue Moon Juice, a collage of vivacious sounds woven into a canvas of rockabilly bred devilry; imagine a psychobilly Yello and you get a hint of the track’s irresistible lure as it brings the album to a forcibly magnet conclusion.

Skipping Over Damaged Area is a prismatic insight and incitement for body and thoughts. It impacts on numerous levels, pleasures on every one. Crewdson is no stranger to attention and acclaim and can expect plenty more with what just might be his finest moment yet.

Skipping Over Damaged Area is out now on download and CD @ https://scantregard.bandcamp.com/album/skipping-over-damaged-area

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Pete RingMaster 09/05/2018

Copyright RingMaster: MyFreeCopyright

Prowling the dark side of being: exploring the corners of Invertia with Dave Coppola

Invertia4

An invasive corrosion of senses and emotions, Another Scheme of the Wicked from US band Invertia stands to the fore of psyche invading threats and violating seductions unleashed in 2014. The album is a virulently compelling incitement of senses and thoughts from a duo in guitarist/vocalist Dave Coppola and drummer/programmer Tim Winson who seem to instinctively press all the right buttons with their provocative sonic and primal explorations. With an appetite to find out more about the band and its dark depths, we had the pleasure to talk with Dave who helped us explore the new album, the creative union between the two, the art of remixes and plenty more…

Hello Dave and welcome to the site and thanks for agreeing to talk with us.

Thank you for the interview, my pleasure!

First of all can you tell us about how you both met?

We actually met thru a mutual friend.

Was there a musical connection right away and how long before thoughts of creating a band took hold?

We started working on songs right away. We basically just started tracking guitars to a beat. Those songs would eventually become Blasphemy Be My Name and Perpetual Alert from the first album. We didn’t think of it as a “band” at first. It was just a recording project that became a band! We never thought we would play live when we met, that’s for sure. It’s crazy when we think about how we started to where we have come; for example opening for Blood of Heroes with Bill Laswell, getting a remix done by Justin Broadrick from Godflesh, to putting out an album with Ohm Resistance. It’s unreal.

Did you have any specific intentions when working on your first songs or was it more of let’s play and see what evolves initially?

It was more let’s see what happens. I never thought Tim and I would still be doing this years later…I’m glad we are though.

Invertia2Though your sound seems to be tagged most often as industrial black metal we found it to be so much more and pleasingly impossible to tie down. What are the most predominate inspirations upon yourselves which you feel have spiced your writing etc.?

Thanks for the kind words! We have all kinds of inspirations whether it be bands, film, books etc. There are too many to name, especially between the two of us. I listen to a lot of metal like Mayhem and Burzum, and industrial as well, Godflesh and Ministry. Tim likes the Residents and Adam Ant. We both like the same bands like the Pixies and the Butthole Surfers. William S. Burroughs and George Carlin are huge influences as well. Also the film They Live by John Carpenter is having a huge influence on the new album which is currently underway. So that’s why we sound the way we do.

You have recently released Another Scheme of the Wicked, a captivating and intrusive hybrid of sound and enterprise. Did it in creation fulfil or your hopes and thoughts or has it evolved beyond even your expectations with its potency and might?

We did the best we could, we always do. That way no matter what anybody says about it we are still satisfied in the end. Albums are like Presidents, it takes time to see the mess you made!

It feels a much darker and more predatory encounter than your previous release, more dangerous one; does it feel like that to you and if so was that a deliberate aim from the start or an organic emergence?

I agree, it is much darker…It has a little more of a dynamic feel to it than the first one. I’m not saying it’s a dynamic album just more than the debut haha! We are fast and in your face the whole time with this album other than the remixes. When we were writing we didn’t sit down and plan it that way it just happened. I think that’s the way it goes for most artists, you never know what you’re going to get at the very beginning. It’s always a surprise at some point during the process.

How do the songs come together and evolve primarily between the pair of you?

Typically myself or Tim will write a beat, I’ll put the guitars and bass down and go from there. Tim will take the beat and make it into drum sections and the song will evolve over time. Songs can be like a photo, you have to capture the evolution at the right time or you’ll miss it.

Tell us about the intent and premise behind Another Scheme of the Wicked.

The intent was to put out a decent industrial metal record. The premise was to make it original and not your every day run of mill metal record. I think we achieved that if I may say so. The album got mixed reviews from the metal community. I knew it would, and at the end of the day I’m glad it did.

The five tracks come with another five remixes, each an interpretation of the previous quintet, was this planned from the first seeds of the release?

Not at all… That was pure luck with a sprinkle of dedication. If you would have told me this album would have those artists on it remixing our music, I would have laughed at you.invertiacoverofficial

In many ways the remixes are doppelgangers of the originals for us, though it is debateable which are the darkest and most frightening versions. Did you give free rein for the likes of Justin K. Broadrick and End.user in their take on your songs?

Absolutely…There was no way I was going to tell those guys what to do. There is no way I could have. You can’t tell Justin Broadrick or Kurt Gluck how to do their job, they just do, that’s why we chose them. That’s the element of surprise I enjoy in this art form I spoke of earlier.

It has to be admitted we have never been fans of remixes, or maybe just do not understand their function though those on Another Scheme of the Wicked have impacted far deeper than most others we have come across on our thoughts. What is it about them which inspires you and lent the idea to include them on the new release?

We are big Skinny Puppy fans and we always liked the way they remixed everything. So I guess it just comes down to demonstrating a different point of view thru a common theme. I always thought that was interesting. I think it gives an extra depth to the album when played in its entirety. The next album we may, if at all, do them separately. To be honest my thinking was it’s just cheaper for the people purchasing the album to not have to buy remixes. But this time around we will give them the choice.

I have to ask as it must happen to someone somewhere, how would you deal with a remix which you did not like and felt did not warrant a place or fitted on one of your releases?

Well, we would be pissed; we hope it would not come to that. That’s why we asked the artists we did, and of course they were very professional in sending us either a couple of versions or following up with us to make sure everything was cool.

Back to your songs; at times they seem to be alive as they ignite the imagination and emotions, feeling like they have hidden depths unrevealed to the listener. How intensively did you take sculpting and shaping the songs of the release?

We are very picky in studio. We have a simple chemistry, and it goes like this. If Tim doesn’t come out of his seat during playback of the initial arrangement, it’s not good enough and I’m back to the drawing board. That’s how I know it will ignite the imagination and emotion, because we can see it in ourselves. If it works for us it might work for the listener as well.

InvertiaWas it an on-going honing process until recording time?

Pretty much, mostly the guitars and arranging…We can bring in ideas on the spot with samples and bass parts.

How about the lyrical side of your music? Was that an intensive development and what inspires their breath predominantly?

The lyrics are inspired by just peoples wrong doing really…People’s hatred for one another and trying to get the last laugh on your own species. It’s a place I don’t like to go for too long a time. We would probably have more material if I frequented the place that inspires the lyrics more often, but it’s a creepy spot.

Tell us about the other projects you are both involved in, and were involved in a couple of the remixes on Another Scheme of the Wicked I believe?

I have another industrial project called TranZi3nT and Tim has another project call R3TRD. We use them as a break from Invertia.

What is next on the horizon of Invertia?

We just released a new single for download at http://invertia.bandcamp.com/ called Existence Exit. It won’t be on Amazon or ITunes as they called the cover “pornographic”. You can judge for yourselves.   We also a have a 7” single coming out called Forever Incision that will have a live version of Facility of the Feeble on it, which is the opening track of the debut album. That will be put out through our label Ohm Resistance, which you will be able to get at http://ohmresistance.bandcamp.com/ soon.   As for the new album we are hoping for late spring time. We are looking to play some more live shows as well. Hopefully 2015 will be a good year for Invertia!

Thanks again for chatting with us; any final thought you would like to leave us with?

Thanks Pete! It was a pleasure doing this interview, good luck to you!!!

Dave (INVERTIA)

Read the review of Another Scheme of the Wicked @ https://ringmasterreviewintroduces.wordpress.com/2014/04/10/invertia-another-scheme-of-the-wicked/

http://www.inv3rtia.com/

Pete RingMaster

The RingMaster Review 08/12/2015

Copyright RingMaster: MyFreeCopyright

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