First Signs Of Frost – The Shape Of Things To Come

Pic Ben Ashton

The Shape Of Things To Come is the first EP since British rock band First Signs Of Frost emerged from a hiatus a couple of years back; its title as much a declaration of the fresh blossoming sound and creative chapter within the band as the themes it explores across five absorbing tracks.

Formed in 2004, the quartet of guitarist/vocalist Owen Hughes-Holland, guitarist Adam Mason, drummer Will Gates, and bassist Dan Oehlman grabbed keen attention with their debut EP, In Our Final Chapter. 2007 saw Daniel Tompkins join up as lead vocalist before the acclaimed release of first album Atlantic and a period see the band play alongside the likes of Deaf Havana, Enter Shikari, Architects, You Me At Six, We Are The Ocean, Senses Fail, Devil Sold His Soul and many more. Before the fuss had settled around the release, Tompkins left to join TesseracT. His departure left a gap the band struggled to fill; thus their hiatus until Hughes-Holland resurrected the band in 2015. Linking up with Mason again as well as bassist Andy C Saxton (ex-Cry For Silence), vocalist Daniel Lawrence (ex-Kenai / All Forgotten), and drummer Alex Harford, the London quintet immediately sought to explore and push their sound to new imaginative heights with The Shape Of Things To Come the first glimpse of their success.

Immersing inspirations from the likes of Deftones, Tool, Further Seems Forever, and Glassjaw into their invention, First Signs Of Frost swiftly lures ears with opener Meat Week. Its atmospheric calm is a quick enticement, the gentle caress of guitar a matching lure before the brooding air also there sparks a bolder expulsion of sound. Lawrence’s vocals immediately impress, his melodic expression matched by the colluding warm and wiry textures of the sounds around him. An infectious energy is equally as persuasive within the song, every element bold without being forceful but making a strongly emotive and technically alluring temptation on ears and imagination.

The following White Flag potently backs up the great start; its enterprise similarly resourceful and ear catching without making over aggressive trespasses upon the senses. There is elegance to the First Signs Of Frost sound which charms as the craft of the individuals captivates; again making for a gentle almost smouldering seduction carried in a contagious and skilfully conjured proposal.

Latest single Look Alive Sunshine is next up with its own individual melodic rock venture veined by djent scented progressive metal intricacies. There is jaggedness which bites as the vocals and melodies hug the senses; a union which grips and lingers even if the song just fails to touch the plateau of its predecessors before the evocative climate and atmospheric ambience of Atlantis drifts in with the superb vocals of Lawrence and keys to the fore. An instinctive emotional intensity rises within the song, simmering down again before repeating its cycle within the graceful serenade.

The EP closes with Sharks; it too an initially serene coaxing but one soon revealing its djent nurtured teeth and creative volatility within a subsequent sea of melodic and technical but emotionally inflamed tranquillity. It is a fine end to a fascinating and thoroughly enjoyable release. The Shape Of Things To Come feels like the first step towards something bigger and bolder but is a full pleasure in its own right; a mix which makes First Signs Of Frost a band which just has to be followed closely.

The Shape Of Things To Come is out now via Basick Records and available @ https://basick.supplies/collections/first-signs-of-frost or http://music.basickrecords.com/album/the-shape-of-things-to-come

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Pete RingMaster 15/08/2017

Copyright RingMaster: MyFreeCopyright

The Royal – Seven

Photo by: DeanX Photography

The final breath of March saw Dutch metallers The Royal release their sophomore album via Longbranch/SPV, an emotional and technical cauldron of melodic metalcore which is simply hard to ignore. The Eindhoven hailing quintet is being talked of with big expectations for their future and through their second full-length, Seven it is easy to see why.

Formed in 2012, The Royal has proceeded to breed and earn a potent reputation at home and further afield year by year. Their first year saw the release of the Origins EP with the well-received single Blind Eye coming a year later. Debut album Dreamcatchers further pushed the band into broader attention with its unveiling in 2014 whilst live the five-piece has drawn plaudits, the band going on to support the likes of Architects and Breakdown Of Sanity and play events such as Jera On Air and the Impericon Festival. Seven though just might be the wake-up call to bigger and greater opportunities; certainly its eventful and resourceful exploits deserves a moment with the metal world’s attention.

The album opens up with Thunder, a track living up to its title. Stormy clouds gather as the track settles into place, riffs respectfully but menacingly harrying the senses before wiry grooves erupt and vein its increasingly tempestuous climate. Soon the song hits its virulent stride, rhythms an imposing trespassing on the senses as the guitars snarl and weave their creative textures within the ebb and flow of the assault. All the while vocalist Semuel Pisarahu boils with emotional ire and open antipathy, a scowling hue equally striking in the web of enterprise, melodic suggestiveness, and raw aggression getting the album off to a mighty start.

Its mix of flavours is another potent aspect to the song and matched within the following Feeding Wolves. Its first touch is a melodic gentleness though soon joined by the low key but open grumble of Loet Brinkmans’ bass and the meaty jab and roll of Tom Van Ekerschot’s beats. As Pisarahu growls, the track erupts into another hellacious yet inviting tempest speared by a predacious swing and spicy grooves. As in the first song, guitarists JD Liefting and Pim Wesselink reveal themselves as comfortable seducing ears with warm melodies as they are ravaging them with bracing and abrasive hostility, their imagination and craft adding to the inventive unpredictability of the song and indeed album.

The mercurial character of the second track similarly grabs the imagination; a quality all songs have in varying degrees. Next up Wildmind is less changeable, more a persistent blaze of irritable jaundice but also flowing through creative twists and turns. Though not quite matching up to the first pair in igniting the passions, it leaves satisfaction full and appetite hungry for the proposals offered next by Creeds And The Vultures and Counterculture. The first has a mean-spirited air to its attitude and touch but one tempered by the maze of winding grooves and captivating melodies wrapping the vocal tension whilst its successor and the band’s new single rocks with relish while also creating a web of melodic enticement and vitriol lit dynamics, rhythmically and sonically. There is a toxic and intoxicating depth to its body, keys a hug of beauty, guitars a kaleidoscope of intent and endeavour as Pisarahu leads the raw vocal roar.

From the melancholy drenched atmospheric instrumental Interlude, the album’s title track has ears and imagination entwined, instantly too as its opening guitar twang flirts with instincts before they are infested by a glorious net of rapacious grooves. Another song which is rock ‘n’ roll at heart and carnivorous in persona, it crawls into the psyche; colouring its realms with fluttering melodies and animalistic textures. Middle Eastern spices only add to its majesty, the track emerging as quite simply aural captivation.

Life Breaker unleashes its ravenous sinews and creative rancor next, though again beauty is as prevalent in its physical nature as emotional discord while Thalassa is an invasive animus of sound and emotion which, without skimping on sonic light, is a darker, more vindictive enmity. Both tracks hit the spot, the former dead centre, before Draining Veins gives its melody woven volcano a friction of vocal and rhythmic tension which boils to inhospitable crescendos across its ever shifting and provocative soundscape.

The album closes with Viridian, a song epitomising the fluid ability of the band to tap into and blend contrasting emotions and textures whilst simultaneously challenging and stirring the listener. It is also a mighty collusion of sonic flirtation and predacious alienation bringing the album to an impressive end.

There are times when, on the surface, tracks share similar essences and personalities to other songs but attention and time defuses any apparent sameness. What emerges, is a creatively immense and thoroughly enjoyable proposition which, for appetites of bands like August Burns Red, While She Sleeps, and Northlane, of metalcore which wants to push itself, is a definite must check out.

Seven is out now via Longbranch/SPV. All links available @ https://theroyal.lnk.to/Seven

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Pete RingMaster 05/04/2017

Copyright RingMaster: MyFreeCopyright

Deference – False Awakening

Increasingly compelling, False Awakening is the new EP from British metallers Deference. A maelstrom of ravenous textures and flavours caught in an equally imposing web of emotion, the release not only forcibly pleases ears but also suggests this is a band with the potential to be a big part of the UK metal scene.

Coming from Southampton, Deference weave in inspirations from the likes of Architects, Northlane, Periphery, and Oh Sleeper into their tapestry of melody rich metalcore with djent and progressive metal tendencies. The quintet has been climbing the ladder with a rapid ascent in recent times, the release of 2015 debut EP XXXVII and live successes alongside bands such as Rolo Tomassi, Napoleon, The Hell, and Shields as well as a European Tour with True Lie all increasing their reputation. False Awakening is a creative echo of an outfit ready to break into national recognition, the next unavoidable step for a band beginning to make their potent mark.

The release opens with Scavengers. A steely shimmer initially coaxes ears, senses strapping riffs soon following as rhythms and guitars grumble around the plaintive vocal roar of Rob Lea. That djent styled essence is equally as swift infecting song and satisfaction, the guitars of Matt Dennison and Jonathan Prince creating a spiky attitude and touch in their emerging weave of enterprise. Strapped to the muscular grouch of Shaun Kirtland’s bass and the animosity loaded swings of drummer Mike Hill, the track is a formidable introduction to the EP; not necessarily unique but relentlessly exhilarating.

The might start slips away to be replaced by the instantly ravenous Insomnia; its immediate wall of sonic trespass the bed for melodic and technical dexterity to blossom. It is an intriguing mixture which takes longer to ignite the imagination than its predecessor’s tempest but grows into a rich captivation especially as raw and aggression vocal contemplations are joined by an impressive clean delivery from Lea, Dennison adding his potent vocal backing throughout. Persistently turbulent across its vociferous landscape, a tempestuous climate equally as open in the track’s mellower melancholy thick yet stark moments, the song has the imagination as gripped as ears throughout.

New single Departure follows, growing from another solemn but engaging melody equipped peace with keys colouring its atmospheric questioning before again vocal and sonic volatility takes hold and seize the moment. As another maze of sound and invention descends, Deference reinforce the potency of their  presence and creative dexterity, the song shifting through numerous cycles all capturing the imagination if again with increasing persuasion rather than an immediate one though indeed its first listen or two leaves pleasure alive.

The EP’s title track has an almost carnal air and character as it ravages the senses straight away, an antipathy which rather than diminishes simply expands its scope as clean vocals and melodic endeavour gets involved in the volcanic explosion. The track is superb, unpredictable yet with plenty of familiar spices only adding to its impressive blaze of sound and emotive exploration. Rabid and composed, vicious and seductive, the track is a collision of extremes and imagination breeding a mighty storm again fusing varied metal bred hues in its cataclysmic squall.

The release closes with Become Death Part 2, an initially gentle melodic romancing of the senses around a vocal sample. As destructive elements fall upon the calm, the song is fallout of corroded beauty, an epochal epilogue to the EP’s themes looking at “a man-made apocalyptic world.”

The buzz is that Deference is ready to take their place to the fore of the UK metal scene; whether it is sooner or later it is expected success backed up by False Awakening and its striking contents.

The False Awakening EP is out now.

https://www.facebook.com/WeAreDeference/    https://twitter.com/DeferenceMusic   https://deference.bandcamp.com/releases

Pete RingMaster 05/04/2017

Copyright RingMaster: MyFreeCopyright

Greyhaven – State Of Mind

Finding an inventive and commanding middle ground between the raw intensity of metal and the anthemic infectiousness of alternative rock with a firm dash of post hardcore involved, British quintet Greyhaven recently uncaged their new EP State Of Mind. It is an encounter which roars and serenades ears and imagination in equal measure; bullying and seducing the senses with seven explosive and imposingly compelling proposals.

London based, Greyhaven formed early 2015 and soon earned a potent reputation for a live presence which has seen the band play alongside the likes of Create To Inspire, Idols Of Apathy, Vera Grace, and The Afterparty. Their first year also the release of debut EP The Flood, a well-received introduction which solidly set the band out as one to watch. State Of Mind suggests much more as it reveals Greyhaven taking new strides in songwriting and sound with riveting results.

Recorded with Dan Kerr (Shields, Create To Inspire, Despite my Deepest Fear), State Of Mind is a tempest of anthemic intensity and sound aligned to mellower moments of melodic intimacy. From opening suggestive instrumental Sinners a sense of creative and emotive drama blossoms in ears, the track growing in predacious shadows and poetic charm before it eventually drifts into the waiting jaws and rousing tempestuousness of Hexes. As guitarists Alex Hills and Jim White weave a tapestry of descriptive riffs and melodic tendrils in tandem with similarly potent keys, the raw throated growl of bassist Edd Kerton explodes to be subsequently replaced by the impressive clean and emotive tones of vocalist Sam Paterson. Tapestry is the best word for the song, so many elements across the band bred with imagination and interwoven in a proposal which never stops revealing new essences and shades of tone in every listen.

It is a craft and prowess which applies to all songs within the release to be fair, the following Darkest Hour swift confirmation as a great growling bassline from Kerton and the merciless swings of drummer Connor Tate link up with the harmonious delivery of Paterson and the emotive melodies which embrace ears. A fiery solo only adds to the imposing yet captivating drama shaping the song, again each minute a cauldron of enterprise breeding new adventures with every encounter.

There are familiar elements to the Greyhaven sound which suggest inspirations from the likes of Architects and Alexisonfire, and maybe are most openly apparent within the excellent On & On, though they are spices quickly engulfed in the band’s own eager imagination. The source of the band’s new video, the track leaps around and burns like a sonic fire, the guitars licking at the senses with melodic heat as rhythms crackle at the core amidst vocally coloured flames.

From one powerful persuasion to another as the highly infectious Our Stand steps forward next, its proposal bruising and magnetic as Paterson shines within another storm of metallic predation and emotionally inflamed contagion as savage as it is rousing as it is pop lined infectious. That lighter air also frequents successor Brother, though again Greyhaven infuse it into a creative and musical ferocity which almost venomously snarls. The song adds another shade to the sound and songwriting of the band, its catchiness an inescapable lure perfectly courted by a barbarous intent headed by Kerton’s toxically grouchy growls.

Closed by a thoroughly enjoyable acoustic version of The Flood, the title track of that first EP, State Of Mind proves and further suggests that Greyhaven is heading towards becoming a potent part of the British heavy rock scene. Already that have provided two releases no one should ignore.

State Of Mind is out now via Outsider Records across most online stores.

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Pete RingMaster 08/09/2016

Copyright RingMaster: MyFreeCopyright

A Time To Hope – Full of Doubts

    A Time To Hope is a French post hardcore band loaded with thick potential going by debut EP Full of Doubts, an encounter wearing familiar genre colours but equally offering a fresh creative confrontation that warrants attention. It is a sonically roaring introduction to their potent sound, a strong and tasty first glimpse of the Montpellier quintet and a strong base for them to leap on from.

Since forming towards the rear of 2014, A Time To Hope has earned praise and a healthy reputation through a live presence which has seen them play with bands such as POLAR, Light Your Anchors, and Zephyr 21 amongst many. Their first music video for the song Sweet T has also lured good attention which is now being increasingly courted by the Full of Doubts EP.

   Influences to the band are said to include the likes of Dance Gavin Dance, Emarosa, Architects, and Slaves; many you can sense across the EP starting with RosaRosa. A lone guitar teases initially as skittish beats surround its distant tempting, that bait soon full in ears as its enterprise swiftly expands. Vocalist Franck.D quickly makes a strong impression with his emotively varied tones whilst the guitars of Vincent.P and Anthony.C dance with sonic suggestiveness on the imagination. It is a highly pleasing start which only strengthens as band and song weave recognisable post hardcore textures into their own adventure.

The following Sweet T picks up the pace and invention next, the song from its initial web of guitar an agitated yet welcoming proposition on a more aggressive skeleton of beats from Guillaume.B. Diversity of voice again works well within the heated maelstrom of sound, it all grounded by the great earthy tone of Shango.W’s bass amidst the spidery resourcefulness of guitar. It is easy to see why it made a strong impact with its video release, the enjoyably busy and at times sonically muggy track growing in drama and persuasion with each passing minute before making way for the instrumental suggestiveness of VII. Melancholically draped in the sense of loneliness, it also warms ears and imagination with its poetic charm and melodic heat, setting up the listener for the similarly toned Lemon Cupcake. It too has a sorrowful air to its melodic caress, though it soon bursts into a tempestuous climate of raw emotion and sound. Alluringly more volatile and antagonistic over time, the track is a mighty trespass on the senses and treat for the ears with a steel and metallic snarl that is less forceful elsewhere on the EP.

Ending with the emotional volatility and sonic ferocity of Catfish, a bracing track featuring Robin Renard, Full of Doubts provides a powerful and highly enjoyable first incitement from A Time To Hope. Major originality is still to come with the band’s sound but already the promise is there in the way they sculpt and unleash their ideas meaning we can only look forward to their next offering with eagerness.

The Full of Doubts EP is out now and available via https://atimetohope.bandcamp.com/releases or http://atimetohope.bigcartel.com/

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Pete RingMaster 06/01/2016

Copyright RingMaster: MyFreeCopyright

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The Five Hundred – Winters

Every now and then, without any debate, lustful pleasure is ignited by a release; by a band exploding on the sweet spot of ears and instincts with something which just seems to know what the passions like. Such an encounter for us is Winters, the debut EP from UK metallers The Five Hundred. It is hard to say what particularly incites such enthused reactions and appetite, the release weaving its fierce tempting with a host of familiar flavours and styles, but every one of its four incendiary tracks is hellacious manna to the ear and imagination; something we suspect to not be alone in feeling.

The Five Hundred emerged in 2014, a Nottingham quintet previously known as DAOR. In no time their fusion of brutal and melodic metal was whipping up ears and thick attention, every strain of extreme metal and numerous other styles seemingly entangled into a compelling maelstrom of enterprise and confrontation which now fuels Winters and already an acclaimed live presence which has seen the band share stages with the likes of Napalm Death, Fear Factory, All Shall Perish, Architects, and TesseracT. Recorded with Justin Hill (Sikth, Heart of a Coward), Winters is the band’s first fearsome roar at national spotlights, and if our ears are anything to go by, heading to rich success in awakening that broader focus.

    The press release suggests that the band switching to 8 string guitars has been a new spark to their sound and invention; whether it has or not, all that matters is that Winters is a full-on tempest of persuasion from first breath to last. The EP starts with its title track and straight away is grumbling in ears through the predatory bass of Andy Crawford, it a grouchy provocateur within a surge of wiry guitar. The hefty swings of drummer Liam Perez show no light in their nature either with each beat a shuddering impact as guitarists Mark Byrne and Paul Doughty weave more compelling bait for vocalist John Eley to spring from with great diversity. Just as musically the release ticks all the boxes so does the attack of the frontman, his fluid mix of clean, punkish, and outright raw hostility equally accomplished and perfectly measured in the split of all his strains of potency.

Death and heavy metal collude with metalcore and post hardcore ferocity though that is a simplifying of the hues creating the first and each track within Winters, as Come Closer swiftly proves. The lead track with a great video in tow, it emerges from a misty sonic atmosphere with military rhythms and emotive vocals, they still more in the background until a ravenous stomp of belligerent rhythms and caustic riffs is triggered. It in turn breeds a sonic blaze which is not so much mellow as less vicious than the surrounding and perpetually prowling ferocity soaking the walls of the incitement. Again at times as punk as it is metal and a constant exploit of seriously enticing elements amidst slithers of unpredictable ingenuity, the track is a ravenous treat but outshone within seconds.

The barbarous majesty of the first two tracks carries on in the outstanding Shutter to the Light, its immediate swagger as seductive as it is venomously violent. Like an anthem for the derailment of all that is hopeful, the track bellows at and trespasses the senses and imagination with enthralling enterprise, yet within its despoiling character harmonies and melodies are unleashed to wrong-foot and seize the passions even tighter. Everything about the track whips up a greedy appetite and pleasure; from the irresistible prime hook to the increasingly formidable vocals and the raging invention culturing the creatively rabid storm.

The EP is closed by The Cannibal Hordes, it also a quite thrilling and blistering arousal of ears and satisfaction. Melodically acoustic in its first caress, defiantly cantankerous from the second onwards, the track spits hostile intent and roars melodic understanding; vocally and musically entwining both with a skilled volatility that ensures expectations never gets proven. As suggested earlier, many elements and flavours are recognisable, bands like Fear Factory, Lamb of God, In Flames, and Hatebreed coming to mind, yet no song utters anything other than something unique to The Five Hundred.

The Winters EP is a crushing and scintillating introduction to The Five Hundred, band you should expect to hear a lot more of in sound and acclaim ahead, if only from our enraptured lips.

The Winters EP is out now digitally and on CD via https://thefivehundred.bandcamp.com/releases

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Pete RingMaster 24/11/2015

Copyright RingMaster: MyFreeCopyright

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Seconds Alive – Bitter Moments

Seconds Alive Press Shots.

With a sound laying somewhere between metalcore and post hardcore, UK hailing Seconds Alive provide us with one interesting and firmly enjoyable confrontation with new EP Bitter Moments. Consisting of six tracks pouring out emotional torment and ire within technical scenery that is never less than captivating, the release makes a solid case to take the Exeter quartet’s under attention’s wing, though not the reason to get over excited for their open potential quite yet.

Formed in 2014, Seconds Alive have spent the past eighteen months brewing up a potent reputation across the South West of England, spreading outwards through an intensive live presence which has seen them play with the likes of with Idiom, I Divide, and Heck (formerly Baby Godzilla), and release a small clutch of singles. Now it is the turn of Bitter Moments to try and awaken stronger attention, success easy to see happening though maybe not to the extent that it is easy to feel was within the band’s grasp.

     One of the prime reasons for that missed opportunity feeling is that despite the obvious talent and craft on show within the band, the EP lacks a certain spark to immediately elevate it out of the writhing throng of similarly sounding, genre bred bands. Close focus reveals they do have the imagination but in a time where attention in music is at best a fleeting breath in so many, Seconds Alive have not yet discovered, certainly here, that swift ‘hook’ to standout right away. The other element we would suggest the band might gain by looking into is the vocals. We have read many landing blows of displeasure upon the delivery of Robert Doran, something we cannot align to, the frontman has a good presence and attack but does, with great raw expression and emotion, only and repetitively offer exactly what is assumedly wanted in their raw style of music. The issue is again that his delivery easily slips into the crowd at the moment, another with an attack which never ventures too far from the caustic roar that as a style is becoming expectation feeding and thus frustratingly predictable for personal tastes. Hopefully though, the fact that Bitter Moments truly comes alive and steps out of the shadows when a diversity of vocals is released to match the busy sounds around them will not escape him and the band and spark adventure in that area ahead.

As said, it is always down to personal tastes though and there is no denying that EP opener Red Blood has ears on alert from its first sonic breath in all departments, especially once the guitar of James Hosgood begins his web of melodic and enterprising endeavour contrasting perfectly with the ruggedly aggressive rhythmic and vocal tempest quickly brewed. The bass of Rich Earle is especially carnivorous in tone whilst the beats of Rach Adams resonate with every impact without disrupting the contagious energy and craft fuelling the track. The fingers of Hosgood are as nimble as they are busy, and as elegant in touch as they are grouchy in craft to match and encourage the song’s growth in character.

It is a potent start taken up by Where Are You Going With This, another where musically the band is unafraid to twist and turn in their interpretation and use of familiar metal hues, though maybe again not bold enough at times. Vocally Doran again hits the mark in his angst driven, anger soaked delivery; never turning away from that singular attack but in a song swift in time more than playing his part in a potently satisfying incitement.

It is fair to say that the elements mentioned earlier which are lacking only really come to impacting light through latest single Drawing The Line, and because it does offer the essences to create something singularly potent. Opening on a more classic metal seeded lure aided by a great bestial tone from the bass, the track leaps into a regular metalcore proposal though again Hosgood is weaving tasty designs. It is the unexpected turn into a punk infused passage of virulent rock ’n’ roll guided by great clean vocals and hungry rhythms that things explode. An atmospheric aside shows adventure, if seeming a little out of place, but also reveals an experimentation and boldness of ideation that outshines the plainer metalcore causticity around it and of other songs on the release.

Upon Yourself steps up next and also impresses most dramatically when it employs cleaner vocals within an imaginative hug of sound, though also to be fair, the track is a tempest of craft and enterprise that might not lift the band’s too far away from a host of like sounding bands, but has ears keenly gripped throughout .

The slow emotive instrumental of Speechless engages the imagination next, its post rock lit coaxing a captivating suggestiveness reinforcing the evidence that this is band whose individuals can compose and play to the highest level. It haunting ambience leads into the ferocious throat of closer Jenna, a wind of squirming guitar imagination and emotive turmoil that easily invites if not overly excites ears, it again missing that indefinable element to prevent it quite reaching its potential.

A release for fans of bands such as While She Sleeps, August Burns Red, and Architects, Bitter Moments is a strong step in the growth of Seconds Alive that definitely courts attention and support. With personal hopes that they will get even bolder in composition and diverse in voice to forge their own unique identity, our expectations are that this quartet has a rather healthy future ahead of them.

The Bitter Moments EP is released October 30^th through all stores.

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Pete Ringmaster 29/10/2015

Copyright RingMaster: MyFreeCopyright

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