Amber Sea – Infantile Vision

Alongside the full enjoyment Infantile Vision offers one prominent thought is, if their debut is this good just how impressive and potent can French progressive metallers Amber Sea, become. The furiously gripping EP from the Lille band is not perfect, at times its tsunami of invention and imagination bordering on bedlamic tendencies, but for every minor niggle in its chaotic tenacity there is a maelstrom of appetite igniting ingenuity. The attention grabbing five track fury is mouth-watering, and the band’s future subsequently even more so, but right now with their turbulent take on progressive metalcore, Amber Sea have announced themselves as more than a cut above similar creatively driven bands.

The release opens with White Materia: Sideral, and an enchanting caress of piano within a shadowed ambience. Clean vocals add to the warmth of the song’s entrance, crisper heavier beats only enhancing the atmosphere as the song slowly steels itself for an impending tempest. Soon vocals squalls from Matt Rouland rage and the muscular swipes of drummer Guy Tornel assault, the eruption an instant intimidation. Just as pungent are the throaty tones of Axel Richet’s bass, its grouchy touch the perfect ally to the twisted enterprise and sonic invention of guitarist Kevin Chesnais. It is striking stuff, if not yet majorly surprising, though the already impressive and enjoyable diversity to and mix of vocals, clean and hostile, has thoughts and emotions absorbed by song and its blossoming originality. Comfortable raging and bruising the senses or serenading them, the track entangles djent ferocity and death metal viciousness with progressive and melodic toxicity, the result one heavily engaging and commanding song.

Things only grow bigger inventively and impress more as Deci (Mate) takes over, to be followed by the just as exciting Violette. The first of the two has no need of a gentle persuasion in its start, thumping beats and squirming sonic acidity surrounding ears as Rouland unleashes his guttural belligerent might. Featuring Chris Barretto of Monuments, the song proceeds to savage and charm with spurts of melodic calm and seduction amidst a hellacious landscape of riffs and rhythms. Enticing grooves and deeply rooting hooks are no strangers to the storm either, both offering tempering persuasion within the corrosive atmosphere. Eventually welcoming a wonderful passage of melodic mystique and eye of the storm beauty, the track emerges as the best of the EP, a destructive beast with at times the warmth and peace of a sunrise. Its outstanding successor also uncages venom dripping snarls and bewitching radiance, all within unpredictable and severely tempestuous scenery. As the previous track, it roars and blusters, smooches and prowls around the listener, coming at them from numerous angles and twists of ideation simultaneously. In the hands of another you imagine things would unravel and fall into that chaotic well of going too far, but Amber Sea hold everything which bursts from their minds and skills with superbly accomplishment and riveting craft.

The song’s at times poetic drama makes way for Shinigami, a serpentine trespass of ears and psyche but prone to lapses of melodic and exotic imagination. As proven by all songs, its deep avenues of ideas, sounds, and ferocious enterprise are not suited to one or two listens, but offers ever massing rewards for a concentrated attention whilst confirming Amber Sea as a band destined to and deserving now of enthused intrigue and full attention.

The release is brought to a close by Black Materia: Meteor. Including a guest appearance of Pierre Dane from Kadinja, the track rages and infests the senses with debilitating noise and vocal spite from its first breath. The ever pleasing vocal depth and diversity shines but is courted by the jagged surface of the riffs and the erosive intensity of the song in general, whilst keys paint a warmer hue to the forceful lyrical narrative and intent.

It is fair to say that every twist and turn, surface and corner of Infantile Vision is forcibly impressive, every listen ironing out more of the pernickety ‘issues’ which could be offered up. Such the pleasure and welcome surprise incited by Amber Sea and their introduction to the world, a full recommendation of they and their excellent debut is all that is left to say, especially to fans of bands such as Architects, Monuments, Periphery, and Gojira.

Infantile Vision is available from February 10^th via Famined Records @ http://www.victorymerch.com/merch/packages/56429/amber-sea-infantile-vision-shirt-free-download-package

https://www.facebook.com/thisisambersea/

RingMaster 10/02/2015

Copyright RingMaster: MyFreeCopyright

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Alone With Wolves – The End of Nothing EP

Fusing an impressive and striking fusion of heavy rock with a voracious metal intensity, UK band Alone With Wolves has a sound which sits easily within the varied shades of metalcore and post-hardcore as well as quite simply rock and metal. The proof is in the band’s new The End of Nothing EP, a five track collision of flavours which combine for a passion drenched and thoroughly captivating tempest of sound and emotion. The band on the evidence of their impressive second release, fuse the strongest essences of those previously mentioned styles into something which has a familiarity to its angst and presentation but an individual freshness which sets the Hertfordshire sextet apart from most of the crowd.

Formed in 2011, Alone With Wolves were swiftly into a charge of shows across the South of the UK, including sharing stages with the likes of Hildamay and Mallory Knox. The band was soon recruiting a passionate fan base and following, which their self-titled EP of 2012 only reinforced and pushed on. Their sound is simultaneously melodic and ferocious, as mentioned combining a varied weave of flavours inspiring comparisons to bands such as Alterbridge, Architects, 30 Seconds to Mars, and Deaf Havana. Alone With Wolves has certainly been brewing up potent attention to date which the new EP has the potential and power to take to a nationwide spotlight.

It launches itself with a sonic enticement as Cutting Ties sizes up ears before expanding into an imposing but inviting mix of raw riffs and melodic enterprise driven by sinew swinging rhythms and a great throaty bass sound. It is not a dramatic but certainly appetite awakening start which the combined persuasion of vocal roars from guitarist Lewis Watson and the clean magnetic melodic tones of Danilo Fiocco are soon colouring with emotion. The track is as antagonistic as it is enticing, two sides merging for a fiercely potent and adventurous blaze of sound which ebbs and flows in its rage and intensity. It never settles into a less than voracious stance though, the rhythms of drummer James Noble and bassist Mark Stanford fuelling a creative hostility whilst guitarists Watson and Kieron Baker craft an enthralling narrative of riffs and melodic endeavour.

The strong start is followed by the raw opening brawl of the title track which is soon sharing the suasion of a great contagious and melodic weave aligned to Fiocco’s impressive delivery backed by Stanford and rivalled by the squalling tones of Watson. The song is an appetising encounter which feeds expectations at first but a sudden shift into rugged metal territory and subsequently a seductive flight of expressive melodies soon has intrigue and unpredictability as vocal as the passion and enterprise drenching the track.

My Life In Your Hands has a more metalcore cored explosiveness to its presence but again the at times almost duelling vocals and emotive ideation of guitars takes the song to a powerfully satisfying adventure. The least dramatic of all the tracks, it still potently feeds an open hunger inspired by its predecessors, the invention of Baker impressing especially, before the outstanding enticement of The Change takes over. A more tempered and melodic hug from the start but with a sturdy intent to the muscular rhythms framing the impassioned drive of the expressive hues and vocals, the song croons with an intimacy which is arguably less open in other tracks. It is no lightweight though, jagged riffs and thumping beats a demanding proposition caging the raw beauty within. With only the fade out of a quite climactic finale annoying, it is the biggest highlight of the encounter.

The closing With You In Mind is an intensively imposing onslaught of rhythmic provocation and senses bruising aggressiveness which still embraces a mouth-watering flame of sonic and melodic invention. It is as mesmeric as it is challenging and an enthralling tempest of invention and passion to bring The End of Nothing to a climactic conclusion.

It is fair to say that The End of Nothing EP did not ignite a raging fire in the belly for it but it is one of the most invigorating metalcore/post hardcore releases this year and the spark to a real hunger to hear more from a band with a very healthy future ahead.

The End of Nothing EP is available from September 1^st and available through all good digital outlets.

https://www.facebook.com/alonewithwolves

http://awwofficial.bandcamp.com/

8.5/10

RingMaster 31/08/2014

Copyright RingMaster: MyFreeCopyright

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ALONE WITH WOLVES find the ‘End Of Nothing’ on 1st September.‏

ALONE WITH WOLVES ANNOUNCE NEW EP

Hertfordshire metal outfit ‘Alone With Wolves’ are rapidly carving a prominent name for themselves, as they launch out of the underground and aim for the jugular of the UK scene, loaded with their brand new EP ‘The End Of Nothing’, out 1^st September.

Hailing from the depths of Hertfordshire and North London, ‘Alone With Wolves’ were born in 2011 and despatch a sound that tips its hat to everyone from Alterbridge and Architects, to 30 Seconds to Mars and Deaf Havana. With aggressive and bouncy riffs that contrast the rich and gentle sections of their songs, Alone With Wolves produce music that is accessible, yet original. Fronted by Danilo Fiocco, who shows off his beautiful Brazilian flair with infectious melodies that will cling to you for eons, and pitched against Lewis Watson’s raw and brutal screams, they have unearthed a stunning partnership.

The rising post-hardcorers have a strong work ethic and have gigged extensively throughout the South playing with the likes of Hildamay and Mallory Knox along the way. The quintet also recently won the M2TM battle of the bands contest, and as such, earned themselves a slot at this year’s Bloodstock Festival. Now the band is geared up to take the masses by storm, with the irresistible weaponry of their sound and brand new EP ‘The End Of Nothing’.

‘The End Of Nothing’ is rammed with cut throat riffery, thoughtful phrasing, and explosive and engaging vocal lines. From the blistering opening of the stunning ‘Cutting Ties’ and the pounding full-throttle hammerings of the EP’s namesake ‘The End Of Nothing’, to the dynamic and majestic ‘The Change’, and the explosive unbridled vigour of ‘My Life In Your Hands’, ‘The End Of Nothing’ is proof that Alone With Wolves are sure to be a prominent force in the UK scene for many years to come.

- ALONE WITH WOLVES RELEASE ‘THE END OF NOTHING’ ON MONDAY 1^st SEPTEMBER -

https://twitter.com/AWW_UK          https://www.facebook.com/alonewithwolves

 

FROM HER EYES offer their ‘Demons’, on 25th August‏

FROM HER EYES HAVE THEIR EXPLOSIVE DEBUT EP NATIONALLY RELEASED!

Up-and-comers ‘From Her Eyes’ are poised for a brisk climb with the national release of their rousing debut record ‘Demons’, which hits outlets on Monday 25th August.

Born in 2012 and hailing from Bridgend, Wales, ‘From Her Eyes’ carry the potential to follow in the footsteps of fellow home-towners ‘Funeral For A Friend’ and ‘Bullet For My Valentine’. Consisting of old school friends Tom Owen (Vocals), James Kearle (Guitar), Jesse Simmonds (Bass) and Gary Holley (Drums), the metalcore quartet have a formidable and mature sound that certainly defies the fact that they are all just out of their late teens.

By drawing power from the Architects, While She Sleeps, Devil Sold His Soul and post-rock heroes, Touche Amore, the band has cultivated a sound that is direct, hard-hitting, and all consuming.

Despite their lean years, the band have been actively hitting the road since the end of 2012, and during this time have chalked up a plethora of fiery live shows, including igniting stages whilst supporting the likes of With One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break and Reaper in Sicily. After winning souls with their live set, the post-hardcore seeded band soon turned their attention to their first record, and earlier this year bunkered down at Bandit Studios with Jonny Renshaw (Devil Sold His Soul) to record their forthcoming new EP ‘Demons’; the resulting fury nothing short of breathtaking.

‘Demons’ starts off with the hypnotic and atmospheric ‘Decay’, which lulls you into a faux state of calm before the monstrous ‘Comatose’ hits you right between the eyes. The juggernaut groove of ‘Porcelain’ also works its way into your grey matter with devastating conviction, while the fantastically frantic ‘Disillusionist’ further displays the band’s arsenal of hefty riffs at their disposal. The haunting ‘Elsyuim’ is next and it highlights the combo’s impressive maturity and guile. Finally, the EP’s namesake ‘Demons’ completes the record, crowning a striking piece of work that proves the rising riff tyrants are ripe for national recognition.

https://www.facebook.com/FromHerEyesOfficial      https://twitter.com/FromHerEyes

 

Surviving The Charade – We’re Never Coming Home

First impressions of We’re Never Coming Home, the debut album from Swedish melodic metallers Surviving The Charade, went from being slightly underwhelmed to inexcusably captivated as it revealed more about the qualities and imagination of the band with each and every track. Given numerous excursions through the ears, the ten track encounter has become a rigorously impressive and exciting proposition for imagination and emotions. Certainly it still has thoughts questioning and succumbing to occasional reservations, but with the voracious inventiveness and surging potential which soaks the band both Surviving The Charade and We’re Never Coming Home have emerged as incitements to get increasingly excited about.

Formed in 2008, the Stockholm sextet took little time in awakening a potent fanbase and attention with first EP Your Breath Smells Like Ben & Jerry’s. Its strong presence was more than matched by the band’s live performances which continued to draw eager followers towards their striking emergence. The following We Refuse To Stand In EP continued their rising success as did the band’s appearances at prominent festivals and supporting metalcore greats Adept. 2013 saw Surviving The Charade drop in on England to record We’re Never Coming Home with producer John Mitchell at Outhouse Studios (Architects, Enter Shikari, You Me At Six, etc.). Infusing inspirations from the likes of Asking Alexandria and Architects into their sound, Surviving The Charade provide an intriguing weave of textures and flavours within their first album, a web which as mentioned impresses and at times has you wondering but persistently leaves ears and attention captivated.

The title track starts things off and this is where that initial felling of being underwhelmed initiated. Certainly the opening of crystalline key cast melodies set before vocals squalls from a distant ledge is an enticing lead into the accomplished and skilfully crafted song but subsequently it is a formulaic encounter which barely hints at the real adventure to come. Nevertheless with punchy rhythms from drummer Sebastian Brydniak framing the evocative narrative impressively led by the clean vocals of Simon Brantklev, the track is an imposing introduction which with its brief length is the right way to look at it even though it kind of gives the wrong impression of the album ahead.

Classically bred keys grasp the ears first as Shout, Walls, Shout! erupts, a startling unexpected grab of the imagination which soars over the hostile raw squalls of the band’s other vocalist Daniel Rotstam. It is a pungently dramatic and creative entrance to the song though some of that potency is lost as it then relaxes into a more straight forward melodic metal stride. To temper that though the bass of Fredric Fji Johansson gnaws at the senses whilst the guitars of Fredrik Brollin and Viktor Lundberg grind, whine, and croon with acute devilry. It is a formidable suasion which leaves its predecessor quite pale in comparison, though as skilled and commanding as the music is, it is the vocals which steal the show, the clean tones of Brantklev a transfixing caress and the roars in great variety from Rotstam carnivorously appealing if not always fully successful.

The following Above The Skyline stomps and seduces with a blend of classically bred elegance and ferocious antagonism vocally and musically, hooks and melodies in as much abundance and strength as heavily swiping rhythms and savage riffs. It is a riveting encounter which lurches at and romps with the senses in an evolving gait but lacks the spark which lit up its predecessor. It does give another flavoursome taste to an already established appetite for the release though which is soon enriched by the outstanding Shotgun Wedding Bride. From its first breath the song is ripping at the jugular with sinewed sculpted riffs and rhythms courted by caustic vocals whilst a haunting melody teases above the ravenous persuasion. The body of the track has a post hardcore hostility to its rabidity which takes on another depth of angst and ferociousness behind the clean seducing of Brantklev which in also seems to inspire a creative rapaciousness from the stabs of Brydniak and the varied snarls from Rotstam. It is a tremendous brawl which reveals the rich promise of the band ahead and their quality now.

The initial voracious intensity and Meshuggah like blaze The Diary Of Frosty Jack keeps ears and passions feverish with its truculent sonic and rhythmic intent, though the cleaner passages whilst adding further poetic toxicity defuse the breath-taking intimidation a tad. It is another immensely satisfying onslaught though, which as across the album, for every moment where things lack certain potency or success in their twists there is a horde of highly inventive, captivating sounds and ideation to enthral thoughts and emotions.

The vivaciously anthemic Here We Stand where emotive melodies and fiery harmonies stake their lingering claim on the imagination within a maelstrom of predacious intensity leaves imagination and attention exhausted next. Of. It is a tremendous fire enticing creative thought with a dramatic presence which leaves the next up Broken Glass a real test to emulate, which it almost does with its robust and blistering contagion within a continually shifting storm of emotive melodic grace and adversarial spite.

The predatory metalcore spawned sound of Dance For Messiah brings another inventive tempest to explore though it fails to enslave the passions with either the lingering vitriol or infectiousness of other songs. It is full of great and skilfully executed twists and turns but feels too familiar in its overall body of sound ultimately, thus feeding expectations somewhat. It also suffers lying between the previous pair of songs and Like Animals. Virulently infectious and strikingly inventive, the track is a relentlessly evolving dervish of argumentative seduction and amicable ingenuity, a song which if human would be classed as schizophrenic for many thrilling reasons. It is an outstanding slab of captivation, everything about it sensational and the best thing on the album.

The closing The Night We All Forgot is a song which may be should not work but does. Its opening chorus of vocals and throaty basslines is so obvious that you feel the band is just going for an easy exit, but then things turn into a threatening stretch of savagery vocally and musically that you swiftly reassess. The song continues to change and bewilder, its melodic almost pop infused moments an unsure success and its vicious inhospitable pillaging irresistible, whilst combined they ebb and flow in persuasion. It is whole though the song is a fixture in mind and emotions long after its departure so that like the album no matter any doubts it is an undeniable triumph.

It is hard not to get excited about the future of Surviving The Charade and to cast a keen anticipation for their next releases on the back of We’re Never Coming Home, a reaction we expect a great many to find through this gripping encounter.

We’re Never Coming Home is available from Monday 2nd June through all digital stores.

http://survivingthecharade.com/

8.5/10

RingMaster 01/06/2014

Copyright RingMaster: MyFreeCopyright

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Icons – Lifesigns EP

Crafting their own very appetising take on metalcore, UK band Icons certainly on the evidence of their latest EP Lifesigns, has a potentially rich and potent future ahead of them. Consisting of four tracks which rage at, coax in, and invigorate the senses, the release is a sizeable introduction to the Leicester hailing metallers. It is fair to say that there is not a major expulsion of genre shaking invention or sounds from band on the release but plenty to suggest that the quintet is capable of such feats in the future as they evolve and hone their songwriting.

Formed in 2011, Icons has earned a strong reputation with their live performances alongside bands such as Bleed From Within, Hacktivist, Martyr Defiled, Continents, Giants and Napoleon. With a collective blend of inspirations from the likes of The Ghost Inside, Architects, Parkway Drive, Periphery, Northlane, Bleed From Within and Heart of a Coward, the five piece conjure up propositions which certainly do not slip past ears and attention easily. Their songs provide a skilfully layered alignment of sounds and textures; hooks and rhythms spearing the creative landscape with equal purpose and passion to the voracious vocals. It is a raw and uncompromising endeavour but one with a wealth of enticements to seduce and transfix the imagination.

Opener Cataclysm strides into view with jack booted rhythms and a caustic sonic haze, its infectious enticing soon permeating ears and eagers thoughts. Taking a breath to establish its intent, the track then winds its sinewed riffs around the senses as the beats of Alan Forrest punch with a sure antagonistic touch. It is fiery bait which is soon under the squalling vocals attack of Neil Vernon, his coarse roars a scathing incitement within the emergence of sonic enterprise cast by guitarists Nick Toutjiaris and Joe Newman. Clean vocals join the picture next to bring a warm temperance to the still blustery gruff narrative, the union of both within the creative tempest of sound stalked by the great throaty bass provocation of bassist Chris Riley, magnetic in the least and thrilling in its strongest moments. As proven across the whole release though the ‘weakest’ elements are those vocals, both clean and raw deliveries undeniably potent instigators of the lyrical climate but at times landing wide of the levels musically the track elevates to.

Though the next up Fall of Avarice offers a similar scenario, it is not as big an issue as it might suggest with both styles working well enough but a further honing to rest easier within the maelstrom of inventive sound whilst still achieving their intensive aims would seem a wise move. The second track twists and flirts with the senses through intensive riffs, muscular rhythms, and a rigorously designed entanglement of sonic enterprise which holds the imagination capture from its opening play. The cleaner group vocal calls work perfectly it has to be said providing an anthemic pull which further entices the appetite to reconfirm that those vocal nags are minor for the main.

The latest single, Helios steps up next with viciously shaped grooves and melodic shards of adventure, the combination another easily accessible lure to immerse bravely within. The track creates scenery of emotive reserve and ravenous spite, both evocative propositions which merge fluidly together as the sounds expand their resourceful premises. It is not as striking and imposing as the previous songs with the vocals again raising small questions but still a song sparking keen attention and a lingering success for itself and band which is very easy to often return to.

The closing Hitch 22 opens on a rugged storm of strictly invasive riffs, deeply barbed hooks, and a contagious rabidity which instantly secures focus and hunger. Stretching its muscle flexing arms around the ears, the song proceeds to jab and scythe its way into the passions whilst simultaneously lighting the imagination with gentle but evocative short melodies and again superb group vocals, something they should definitely employ much more. The best track on the EP, it is a skilled cantankerous maelstrom which engrosses from start to finish and almost alone reveals all the promise within Icons to indicate that they are a real prospect as an emerging force.

There is plenty more within Icons to come, a continued evolution needed to see the band find a spotlight outside of the crowd but Lifesigns indicates that all the weaponry and craft is there waiting to be bred into something unique as it provides a very satisfying and enjoyable base to start from.

The Lifesigns EP is available now @ http://iconsuk.bandcamp.com/ as a buy now name your price download.

http://www.facebook.com/Iconsmetal

8/10

RingMaster 15/05/2014

Copyright RingMaster: MyFreeCopyright

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Giving In To Ghosts – Chasing Waves

Bursting out from South Wales, post hardcore band Giving In To Ghosts have given a very solid promise drenched introduction to themselves with their Chasing Waves EP. The band’s debut is a vibrant and engaging, as well as pleasingly aggressive, entrance by the Cardiff quartet. It is an accomplished and imaginative proposition which without the spark to really light up the passions certainly leaves a hungry appetite in place for the band ahead. Its sound and the band’s presence is not as unique amongst other similarly fuelled bands as you feel both will become in the future, but again still feeds an intrigue and attention for the foursome which cannot be underestimated.

Formed only last year, Giving In To Ghosts have taken little time to trigger a keen and passionate fanbase around their region which is now starting to spread further afield with equal success. Pulling in inspirations from the likes of Funeral For A Friend, Architects, and Reuben their sound certainly has a wide appeal as proven by their successful support slots to bands such as Continents, The Browning, Acoda, and Beneath My Feet. Recorded at Not In Pill Studios in Wales with Martyn ‘Ginge’ Ford and Matt Bond (Slipknot, Trivium, Bullet For My Valentine), Chasing Waves is a potent first persuasion to hit the whole of the country, as said a tremendously solid attention grabbing declaration revealing the open potential within the band.

Rapture starts things off and immediately has ears under the cosh of the raw squalling tones of bassist James Hardiman, his vocals abrasing the senses and lyrical intent within firm rhythms and a sonic coaxing from the guitars. It is not a dramatic explosion but one with strong grooves and melodic designs from lead guitarist Julian Thomas alongside the equally welcoming riffs of Michael Thomas making an appealing start. The clean vocals of Michael Thomas equally impress; his delivery gentle and a good temper to the gruffness of Hardiman though you feel placing them side by side rather than alternatively could work better. The punchy beats of drummer Alex Bargh and solo casting of Julian complete the expressive forceful colour of the song and arguably stand out on the track most but all aspects skilfully unite for a strong first strike from the release.

The following Sirens makes a less forceful appearance but certainly is as fiery as its predecessor, going on to build a magnetic canvas for the switching extremes of vocals to unleash their narratives. The bass offers a mean growl to the rapacious riffs and antagonistic rhythms as do his scowls, but there is a less potent element to the song against the last which means the track fully satisfies but does not linger. Nevertheless with a pleasing sonic temptation and a belligerent intensity the song proves its worth and reinforces the potency of the band.

The title track opens with a riveting melodic caress instantly joined by the equally warm clean vocals. The bass adds tempering shadows to this embrace to expand the depth and pull of the initial coaxing before the sinews and passionate bruising within the song makes a loud shout. Evolving through both sceneries the best song on the EP provides an evocative adventure which reveals much more about the strength and depth of the band’s songwriting and sound whilst stretching the quality of the encounter. Employing emotively powered keys and a mesmeric spiral of sonic enterprise within a growing snarling dark side, the song is a formidable indication of the creative heart within the band and again its undeniable promise.

Final song To The Sun veers into the more brutal side of the band certainly compared to the reflective warmth of the previous song, it ravishing the senses with grouchy rhythms and caustic vocal spite whilst still drawing on the melodic craft and expression of the band. It is an intimidating and highly alluring end to a very satisfying release, one which maybe suggests more than it delivers but only in the quality you feel is there in the band waiting to evolve. Chasing Waves does not make claims as the new best thing in post hardcore but it certainly provides more than enough to suggest Giving In To Ghosts has the ability and sound to be a loud voice in the UK scene.

http://www.facebook.com/GivingInToGhosts

8/10

RingMaster 29/03/2014

Copyright RingMaster: MyFreeCopyright

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