Voodoo Vegas – Hypnotise EP

vv3_RingMaster Review

A rock ‘n’ roll holler to reinforce their growing reputation as one energy rousing proposition, UK stompers Voodoo Vegas release the Hypnotise EP offering four songs that bellow and tenaciously stomp through ears from start to finish. Instantly it is a thickly enjoyable encounter which just hits the spot time and time again to give body and satisfaction a very healthy workout.

The successor to their well-received 2013 debut album The Rise Of Jimmy Silver, the Hypnotise EP is a potent build on its success and introduction to those new to the Voodoo Vegas roar. There are no major surprises unearthed by band and encounter but with the accomplished craft and open imagination of the band coursing songwriting and sound, the EP is more than just a solid proposition to support their rich live stature earned over the past couple of years or so. 2014 saw the quintet play a special guest slot for Status Quo in Holland, share the stage with Y&T on their UK/European Tour, and play a host of their own shows across the UK and Europe, as well as play a host of festivals. This year Voodoo Vegas played an acclaimed performance at the Camden Rocks Festival 2015 amongst many shows and with producer Will Maya (The Answer, Breed 77) record Hypnotise. It has been a busy time for the band east to expect being matched as their EP does the rounds tempting fans and newcomers alike.

VV2-cover-flattened_RingMaster Review   Hypnotise opens with its title track, swiftly creating a blaze of tangy grooves around antagonistic riffs and spiky rhythms driven by the strong vocals of Lawrence Case. Almost as quickly the song slips into a less imposing but no less magnetic stroll around an early entering chorus, undulating its intensity and attitude thereon in with fluid and pleasing prowess. The guitars of Merylina Hamilton and Jon Dawson provide a constant web of enterprise throughout the song which keeps ears happily fed whilst the bass of Ash Moulton brings its own throatily seductive groove.

It is a potent start with numerous rewards for the appetite and imagination to get hold of but soon eclipsed by its successor, Tied Up. From its first breath as a blaze of guitar, the track strolls with a predatory nature and tone, entwining it with fiery and feisty endeavour from across the band whipped up into extra zeal by the rapier swings of drummer Jonno Smyth. Hard and glam rock ‘n’ roll but with plenty more essences boiling in its belly, the song is a perpetually magnetic captivation with a simultaneous snarl and creative glint in the eye.

From one highlight to another in the blues seeded shape of Round & Round, a swagger of a stomp that just gets stronger and more inventive with each passing minute and rewarding listen. The harmonica skills of Case bring new intoxication to the song around midway, though bass and guitars had already whipped up a greedy lick of the lips for their devilish imagination by that point anyway.

The two songs offer the peak of the release but closing track Killing Joke has plenty in sound and anthemic imagination within its more intimidating canter to leave ears and pleasure ripe. As throughout Hypnotise hooks and grooves are forcibly appealing, being perfectly backed by feisty riffs as vocals alongside rhythms expose the pungent heart in a fine end to the EP.

As suggested, the Hypnotise EP is open in its inspirations, most likely Aerosmith, Guns ‘n’ Roses, and AC/DC amongst them, and does not venture into the unknown but for thick invigorating rock ‘n roll it, and Voodoo Vegas, leave no one wanting.

The Hypnotise EP is out now on iTunes

Upcoming Live Shows:

23rd Oct – WESTBURY, UK – Charlies Bar

24th Oct – EVESHAM, UK – Iron Road

21st Nov – BOURNEMOUTH, UK – The Cellar Bar

28th Nov – POOLE, UK – Mr Kyps

12th Dec – IPSWICH, UK – The Music Room (with Gilby Clarke)

13th Dec – LONDON, UK – The Underworld (with Gilby Clarke)

14th Dec – BILSTON, UK – The Robin (with Gilby Clarke)

http://www.voodoovegas.com    https://www.facebook.com/VoodooVegas/

Pete RingMaster 14/10/2015

Copyright RingMaster: MyFreeCopyright

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Braddock Station Garrison – A Hint of Recognition

BSG_RingMaster Review

Last year US rock band Braddock Station Garrison gave a strong and enjoyable introduction to their rock ‘n’ roll with debut EP/mini album High Water. Exploring all the best bits of that release whilst honing other potential but previously less striking elements in their sound, the Washington DC quartet has recently unveiled its successor, A Hint of Recognition. Still carrying a flavoursome Americana tang to their no frills rock ‘n’ roll, Braddock Station Garrison have produced another highly magnetic and creatively organic proposition with their second full-length to thoroughly enjoy. It is probably not a game changer in stirring major awareness of the band by wider spotlights, though it has enough to make a stir if given the chance, but A Hint of Recognition is definitely going to entice new fans as they show they are heading in the right creative direction for bigger rewards ahead.

Formed by vocalist/guitarist Steve Schillinger and lead guitarist Tom Soha in 2011; Braddock Station Garrison take inspirations from the likes of Tom Petty, Neil Young & Crazy Horse, Cheap Trick, Aerosmith, Johnny Cash, and The Smithereens into their openly growing sound. Completed by drummer Michael Chapman and bassist Michael Haddad, a line-up in place since mid-2014, the band released High Water last year to keen responses. Its fusion of classic and modern sounds was a highly appetising if unspectacular proposal which left a richness of pleasure in its wake. A Hint of Recognition continues the groundwork it laid but with more inventive tenacity, bolder imagination, and depth of sound. It is still not the offering to make an explosive impact but it definitely guarantees a thoroughly enjoyable time with every listen and who can say no to that.

cover_RingMaster Review   The album opens with Forgotten Teenage Dream, a contagious little number with jangly riffs and a great alluring bassline alongside the ever distinctive and appealing tones of Schillinger. With crispy beats adding to the easy going stroll, the song rather than providing a big splash to start things off is more a catchy coaxing, a warm up to bigger and brighter things. Nevertheless grooves and melodies offer a pleasing tempting which the more relaxed and emotive She’s Too Cool employs with relish in its more fifties rockabilly seeded stroll. As in its predecessor and the band’s sound generally, there is a masterful simplicity at work; leanness to the invention which ensures only the choice cuts of sound and imagination get involved in the song whilst avoiding unnecessary embellishments.

Things really takes off from the album’s third track, Lies, where once more a fifties breeding is carried by the tantalising air of the song, and initially through another tasty bass lure and the rich vocals. It is a flavour continued by sultry melodies and welcoming riffs cast by the guitars whilst a raw cascade of intensity only adds to the drama and unrelenting addictiveness of the song. Its success seems to spark something extra in its following companions too, Hey Cindy spinning a web of sonic tendrils across its body within a great rhythmic beckoning next. To this the guitars spray a creative smog like contrails behind a plane, with both Chapman and Haddad laying down gripping bait before Never In Danger emulates the earlier Lies with its own dark rock hues, though this time they touch upon a R.E.M. colouring in the song’s evocative swing. Infectious from first breath to last, the track is a reserved but lively seduction adding more warmth to the satisfaction already brewed by A Hint of Recognition.

More heady bass temptation brings a grin to lips as Any Day Any Way opens up, the enticement persistent as guitars spread fuzzy causticity across a punkish encounter unafraid to change tact and energy at the drop of a note. More inventive and fiery with each passing minute, the track is another striking high point which Stop and Reflect struggles to match right after, though its country twang and melodic smoulder only feeds a happy appetite before Johnny Stone Stole My Girl brings things to a rocking close. Its unsurprising yet irresistibly catchy shuffle feeds all wants from a slice of rock ‘n’ roll, especially with more of that flavoursome old school fifties tone to please personal tastes; a pursuit of which would definitely go down well and add something more to future Braddock Station Garrison songs it is easy to suggest on the evidence of A Hint of Recognition. More of the very solid and enjoyable sounds found on the band’s new album would be quite fine too.

A Hint of Recognition is out now via the Braddock Station Garrison Bandcamp.

https://www.facebook.com/BraddockStationGarrison   https://twitter.com/BSGRockNRoll

Pete RingMaster 29/09/2015

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City Of Thieves – Incinerator

CoT_RingMaster Review

We just cannot say no to a rousing slab of rock ‘n’ roll at The RR and that is exactly what UK hard rockers City Of Thieves uncage with their debut EP, Incinerator. It is five tracks of varied, no frills heavy rock which may not carry too many big surprises but potently feeds the instincts to roar and brawl with revelry. After the first minute of its opener you will kind of know and certainly welcome what you are going to get thereon in, but with a formidable freshness and passion to it too, it quickly shows why there is a thick buzz brewing up around the band; Incinerator inciting heavy satisfaction as it sonically lives up to its name.

The London quartet emerged in May of 2015 and as soon as their sounds hit ears and their feet stomped on stage, City Of Thieves began stirring up rich attention. Their live debut was an acclaim awarded introduction at his year’s Camden Rocks Festival, whilst debut single and now EP title track Incinerator, saw the band play listed on the New Rock Show on Planet Rock Radio for 7 weeks. Since then the band has found itself booked for this year’s Hard Rock Hell, Legends Of Rock, and Rockstock Festivals, played Bloodstock, and seen their EP already covered in plaudits.

EP Artwork_RingMaster Review     Recorded with producer Toby Jepson (Little Angels, The Answer, The Virginmarys), mixed by Mike Fraser (Metallica, AC/DC, Slipknot, Aerosmith), and mastering by Simon Francis (Kodaline, Kaiser Chiefs, Primal Scream), the Incinerator EP starts with a bang and never looks back. That first single opens things up, enticing ears and teasing an instant appetite with its initial predatory prowl of riffs, they courted by the swiping beats of drummer Will Richards and the gnarly tones of Jamie Lailey’s bass. Pretty soon things have ‘relaxed’ into a fiery stroll as the guitars of Ben Austwick and Adam Wardle spin a melodic web of grooves and spicy riffs , and Lailey unveils his sandy, slightly grizzled vocal tones. Like an old buddy, a familiarity entwines with the sonic enterprise and stalking rhythms, and like a returning friend it only pleases as it comes further alive with individual prowess and a creative energy which many bands never ascend to, especially within a debut.

The great start continues with Buzzed Up City, a mellower and warmer grab of the senses but one not scrimping on vociferous snarls within its fiery heart as the band embraces a more classic rock tone with eighties hues in its infectious rock ‘n’ roll. It hits the spot with accuracy though is still eclipsed by its predecessor and the following Lay Me To Waste, the best track on the release. From the almost carnivorous tone of the bass, the rebellious nature of drums and riffs, and grooves which flirt like a lithe seductress, the track smoulders and blazes with a virulence and enterprise which swiftly captures the imagination, and of course greedy ears.

Here Comes The Shot is more of the same infection in its individual way. Its bluesy air and rumbling rhythms also immediate persuasion as vocally again Lailey, like the song and indeed EP, brings a ‘this is how it is, take it or leave it’ attitude and the taking is the only reply possible to the rousing anthem.

A live acoustic take of Mr 50/50 brings the release to a fine end, the song a closing reminder of the core craft and qualities of City Of Thieves always lying beneath the full on riotous sound of other tracks whilst providing a last shot of aural liquor complete with boozy harmonica.

The bottom-line here is that there are few BIG surprises with Incinerator but an unbridled dose of fun and rousing rock ‘n’ roll, and who is never up for that?

The Incinerator EP is available now via Townsend Records / Monster Box Music

Pete RingMaster 23/09/2015

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Imicus -The Libertine

Imicus Online Promo Shot

They may have left us all hanging after their impressive first chapter and debut album, but after a two year hiatus UK melodic metallers Imicus return with a new line-up and single soaked in the same invigorating qualities and invention as before. The Libertine is a striking comeback, two tracks reminding us of how the Luton hailing band gripped attention and emotions first time around whilst providing a new expanse and depth to their fascinating and provocative sound.

Before the original line-up disbanded in 2012, Imicus was stirring up keen praise and eager support straight away from their first single Visceral, which was released on Transcend Records in 2009. Eagerly swooped on by radio and its video by the likes of Kerrang! and Scuzz TV, the song’s success was surpassed by debut album Animal Factory the following year. Alongside this success, Imicus equally drew strong responses with their live performances which across the years has seen them share stages with the likes of AC/DC, Bullet For My Valentine, 30 Seconds to Mars, Rage against The Machine, The Stone Temple Pilots, and Aerosmith as well as make successful appearances at festivals like Download, Hellfire, Hammerfest, and The Bulldog Bash where they played with such bands as Breed 77, Sepultura, Opeth, Skindred, Saxon , Motorhead, Status Quo, The Damned, and many more.

Last year saw the end to the break which followed for the band, when co-founder and vocalist Miller decided to take the band out of storage with a new line-up and intent in sound and invention. The Libertine is the first offering from the PromoImageband’s second chapter, and recorded with Russ Russell the single is a gripping incitement swiftly revealing evolution in songwriting and imagination of the band.

The Libertine swiftly encloses ears in thick layers of rugged riffs and sonic enterprise punctuated by punchy beats. It is a captivating web given further strength by the vocals of Miller and the hazy atmosphere sculpted by the skilled melodic designs cast by guitarists Matt Turnbull and Al Hutton. Expulsions of muscular attitude and intensity equally add to the compelling encounter whilst Miller sets brawling roars alongside his flowing melodic delivery and the rhythms of bassist Bradley Beech and drummer Antony Cardinal bring a predatory breath through their attack. Technically as enthralling as it is creatively melodic, the song is a rich blend of explosive textures and bracing atmospheric tension, and a mighty return from the band.

Its companion track is Medusa, a song bred from the same melodic and inventively tenacious template as its predecessor whilst uncovering even stronger evocative potency to its depths against sinews seemingly finding seeds in the likes of Stone Sour and Killswitch Engage. There is a definite feel of Johnny Wore Black to the track’s emotive hues and insightful expression whilst elegant melodies and direct passion feverishly drive its imaginative persuasion.

Both tracks combine for an imposingly pleasing and impressive comeback for Imicus, and the breeding of real anticipation for the band’s new album scheduled for next year. The band may have been away but it did not stop its potency and potential growing, as well as expanding with the influx of new creative blood.

The Libertine is released worldwide on CD and digitally September 26th from all major digital outlets as well as @ http://imicus.bigcartel.com/


RingMaster 21/09/2014

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Hollywood Heads – Self Titled EP


Sauntering out of Moscow, Hollywood Heads is a band with a swagger to their presence and lustful intention to their heavy metal exploit. Formed in 2011, the quartet has powerfully awoken the eager attention of their local underground scene but now with the help of their self-titled debut EP, the band is ready to break out into a wider spotlight. Inspired by the likes of Aerosmith, Guns N’ Roses, Motley Crue, Alice Cooper, and Zakk Wylde, their sound is not one bursting with startling originality but it offers boisterous and dirty rock ‘n’ roll which easily lights ears and appetite.

Line-ups changes, as with many bands, has been part of Hollywood Head’s emergence but the EP finds the band at its strongest yet with founding members in bassist Yeti and drummer Dan Mark alongside vocalist Gine King and guitarist Cross_Cover_Hollywood_HeadsFox. The successor to the well-received single Blood City, the EP rocks without any thought of respect or restraint from its first rousing track, the feisty Hollywood Heads. It does not make the most dramatic start but with riffs stirring up air and rhythms prowling with predacious intent, the song makes a strong enough invitation before exploding into a fiery slab of rowdy rock ‘n’ roll with glam rock urges. The slightly wayward tendencies of vocals only add to the energy and excitement brewed in the track whilst guitars unveil a potent craft of sonic endeavour to add fuel to the fire. There are no surprises with the song but plenty to get feet and ears rigorously engaged.

The following Aerogrill is the same, not making shocking statements but igniting body and thoughts with its excellent punkish twang and feverish vivacity around more of those addictive unique vocals. The best track on the release it shows a riveting twist of adventure to the band’s sound. Hooks seduce and grooves bind the senses whilst the virulent stroll of the song takes a hold of the passions. It is not ground-breaking but wholly addictive as it awakens a greedy hunger for the band’s creative brawl.

The EP comes to a close with Game, a proposition showing yet another side to the band’s invention. It is the heaviest track on the release; riffs prowling with weighty enticement as rhythms crisply spear their intensity as vocals roar with lusty relish across their canvas. Lit with an additional blues hue, the song is an accomplished and magnetic close to a fine release.

Hollywood Heads are at the start of a potentially dramatic ascent and success. They have still to evolve their own distinct voice but the EP makes a highly satisfying and pleasing base to start from.

The Hollywood Heads EP is available now



RingMaster Review 12/09/2014

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Beggarz Fixx – Rouse The Rabble

Beggarz Fixx Online Colour Promo shot

Brewing up an accomplished and fiery proposition with a dirtily rowdy nature, UK rockers Beggarz Fixx unleashes their debut EP this week for a healthy stomp of rock ‘n’ roll which should find a welcome in the ears of glam metal/hard rock fans. Rouse The Rabble is a feisty encounter which romps with the recognisable inspirations of Mötley Crüe, Buckcherry, and Aerosmith ringing through its six riots of energy and sound. It is not offering anything ground-breaking or re-inventing the genre wheel but instead pulls the listener, even those without a real taste for its style of music, into a pleasing and contagious exploit which only satisfies.

Swaggering out of Brighton, Beggarz Fixx has built up strong support and reputation locally and across the south of England since emerging in 2011. A few line-up changes has led to the quintet of vocalist Chazza B. Bennett, guitarists Mykki Felyxx and Danni Oakheart, bassist Zakky Redloxx, and drummer Billy Kidd coming together whilst the years since forming has seen the band share stages with the likes of Love/Hate, Attica Rage, Adam Bomb, Reckless Love, and Mallory Knox. Rouse The Rabble is the band’s first release and nationwide attention grabber and it is hard not to expect it to emulate across the rest of the UK its success in London and below.

….And The Devil You Know sets the release in motion, its slow rhythmic coaxing and simmering flames of guitar an attention prodding entrance. The track continues in that nature, accentuating its sonic heat throughout with the 10616344_669858903083407_6433403193299458609_npredominantly spoken vocals which offer a raw edge to the climactic texture of the song. It is a potent if not startling start which flows straight into Outta Control, a track instantly raising the temperate and energy levels. Beats are punchy and riffs raw, whilst the vocals of Bennett provide a nicely varied flavour to their presence. There are no real surprises with the song but plenty of fresh ideas and a highly agreeable persuasion of sound and craft.

The strong start is matched by the following Gimme Some. Drizzled with a bluesy temperament in the flair and stringed enticement of Felyxx and Oakheart, the track is an immediate party with infectious bait for feet, imagination, and passions alike. Hooks flirt, and rhythms entice with similar success whilst again the guitars cast a weave of melodic and sonic tenacity to match the vocal enterprise. Old school and proud, yet providing a modern fire to its attitude, the track again holds little to shock or surprise but plenty to rouse body and emotions for a thoroughly pleasing encounter.

Burn It Down is an anthem primed to recruit the listener within its first touch, hooks and chords an easy and stormy mix which breeds familiar seeds into its own antagonistic riot. With some potent twists and ideation, the song is another to awaken the spirit, and limbs, but lacks the stamp and spark of other tracks, and especially its predecessor. The next up Sick N’ Tired has a stronger and far more lingering presence and adventure to its tempest. Aerosmith meets Skid Row with a touch of Turbonegro to its aggressive breath; the song shows another side to the invention of the band, its progressively spawned melodies and intriguing turn of imagination bringing richer promise and endeavour to the track and release.

The EP is brought to a close by the impressive Walking, a smouldering croon which expels a blues twang in its climate and emotive heat to its reflective narrative. Guitars and vocals fuel the imagination whilst both Redloxx and Kidd provide an imposing yet respectful frame which cages ears impressively. Along with Gimme Some, the track brings the biggest thrill to an easily enjoyable and potent release.

Rouse The Rabble is a sonic orgy of fire bred rock ‘n’ roll which has the swagger and qualities to leave a host of new fans very happy.

The Rouse The Rabble EP is available now through all stores.



RingMaster 08/09/2014

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Hard Riot – The Blackened Heart


Having impressed and thrilled with their debut album Living on a Fast Lane, German rockers Hard Riot return with its successor The Blackened Heart, a release which immediately shows how much the band has grown in songwriting, craft, and sound. It is fair to say that like its predecessor the new album is not worrying the inventive boundaries of heavy and voracious rock ‘n’ roll, but like the debut it is a thoroughly captivating and mouthwatering blaze of sinewed riffs, feverish adrenaline, and ferocious passion.

Hailing from Heilbronn, Hard Riot began in 2006 and was soon casting a potent web of rock and metal, its spices first showing on The Hidden Truth EP of 2009. Consisting of vocalist/guitarist Michael Gildner, guitarist Andreas Rockrohr, bassist Mario Kleindienst, and drummer Carmine Jaucci, the band showed their emerging strength and sound, with its essences of AC/DC, Def, Aerosmith, and Staind, three years later on Living on a Fast Lane which they recorded with producer Vagelis Maranis before unleashing it as the new one through Pitch Black Records. The Blackened Heart, also created with Maranis and with Heiko Härle the newest member of the band on bass and backing vocals replacing Kleindienst, is the next big step in the ascent of the band, a release easy to expect bringing fresh eager attention upon the band.

The album starts as it means to go on with a fiery storm in the shape of Blackout. Riffs and rhythms instantly assault and excite ears as it PBR030takes its first breath before welcoming the excellent vocals of Gildner, who right away seems as the music to have even greater power and confidence in his delivery. The guitars and bass almost stalk the senses as the feisty narrative, musically and lyrically, of the track entrenches its infectiousness into the imagination. There is a real anthemic feel to the song without pandering to easy hooks and though it is not the most inventive track around, the thought and precise alignment of sounds is open to see and devour greedily.

It is a great start matched by the following Suicide Blues, its entrance less forceful but just as dynamic after the first caress of chords. Holding stronger old school metal seeds in its belly and a groove metal hunger in its breath, the track swaggers and surges with a contagiousness which is irresistible. Scorched riffs and pungent rhythms persist on the senses as the track romps with relish for three minutes plus of irrepressible rock ‘n’ roll. It is song made for feet and neck muscles, which get a sort of breather with the next up Devils BBQ, a riveting roar of southern rock based enterprise with a great country/Cajun twang in its veining. Like its predecessors, there is nothing spectacularly new to it but it plays like an old friend with a fresh colour to its creative clothing which simply captivates for a tantalising treat which leaves a smile on face and emotions.

The End strides purposefully into view next, swipes of riffs and tempered rhythms courting expressive vocals before combining for a rich flame of melodic hard rock up to and around a potently catchy chorus. It is not as immediate as certainly the first two songs on the album but once bodies are bouncing around rooms and bums on chairs you realise it has hit the sweet spot just as accurately as any other track on the album. From that Nickelback like canter, the emotive ballad Count On Me croons in the ear with melodic seduction and vocal angst, again recalling spices of the Canadian band. The song is soon under the skin and teasing thoughts and emotions, it’s perfectly crafted body not surprising in any way but certainly lingering with German persuasion.

The pair of Not Alone and The Enemy Within leaves imagination and appetite busy though not matching the strength of the album up to this point. The first builds an evocative flame of melodies and emotive vocals around choppy riffs and crisp beats which binds attention whilst the second teases with another countrified twang before its bluesy heart wraps imaginatively around the ears. Both songs reveal more of the improved skill and adventurous exploits within the thinking of the band whilst pleasing ears with immensely accomplished designs.

Dirty Games steps up next to growl provocatively, its riffs and rhythms a predatory lure over which Gildner again deeply impresses. Crowding around ears with incendiary hues and patterns, the guitars cast a potent enticement which dares to flourish but never exceed the core boundaries of the vivaciously driven track. It is a strong asset of the album, the restraint to the individual’s skill which other bands might fail to rein in, but Hard Riot know when enough is enough to impress and enhance but not overload a song.

Second ballad Last Goodbye with its great violin call is an enjoyably decent companion before the bold wanton sounds of High Society Bitch ignite in ears and imagination. It is a tremendous snarl of dirty rock ‘n roll with a raucous edge to its infection which is surpassed by the closing brawl of Hit The Ground, a thumping stomp of a song which again has nothing truly new to show but all the virulent contagiousness and quality you could wish for in a heavy rock song.

The CD version of The Blackened Heart comes with an additional track, a reworked version of The End featuring Richard Sjunnesson of The Unguided which to be honest we preferred to the original just because of the great union of the two vocalists. The album itself is another impressive and exciting encounter from Hard Riot, a release showing the band yet to find its distinctive voice is certainly on the way to being a potent force and attraction; already they have a thrilling and appealing presence sorted.

The Blackened Heart is available via Pitch Black Records now in Europe and North America from July 8th.



RingMaster 03/06/2014

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