Who Killed Nancy Johnson? – Flat Earth Theory

Having recently checked out their latest single, Dark Horse, and been definitely taken by it, it was a really welcomed treat to be sent over by the band itself the release the song came from. Its creators are UK outfit Who Killed Nancy Johnson?, a​ ​​​Reading-based quartet creating an eventful fusion of punk and rock with post punk imagination. It is a tenacious sound fuelling a new EP in the shape of Flat Earth Theory, four tracks of raw and devilish rock ‘n’ roll which just got under our skin.

Formed in 2015, Who Killed Nancy Johnson? has grown into one increasingly praised and devoured live presence across the south of England. Their debut EP, Cops and Robbers, released early last year only added to their rising reputation, one sure to be energised again by Flat Earth Theory. Musically the band embraces inspirations from the likes of The Stooges, The Ruts, Wire, Magazine, Black Flag, Buzzcocks, The Rezillos, Fugazi, Ash, Killing Joke, Lit, Rival Schools, The Drills, and 3 Colours Red; an array of flavours which if not openly echoed in the band’s individual enterprise certainly adds to its substance.

Flat Earth Theory is an eventful encounter, an affair coincidently echoed in its making with former bassist Paul Anthony leaving the band just before the EP’s mixing stage and preventing the basslines already laid down being used. A mystery bassist saved the day though, Who Killed Nancy Johnson? leaving the studio with four slices of ear grabbing rock ‘n’ roll.

The EP opens with Strip, a song which opens the band’s live show and to rousing success one imagines such its potent impact on Flat Earth Theory. From a dulled clang of guitar, spirit sparking beats launch their bait, Mark Wren whipping up song and appetite alike as Pete Moulton’s guitar continues to linger casting raw strokes. Quickly though the song surges through ears, its rapacious energy and disruptive intent manna to the imagination and capped by the distinctive tones of vocalist Stefan Ball. Old school punk meets post punk devilry, kind of like The Adicts in league with a Fugazi fuelled Gang Of Four, the track is irresistible and for us a must single. It is easy to see why their shows get off to a flyer with the song, its two minutes instinctive punk ‘n’ roll incitement.

The following Alien has a broader rock landscape, alternative and punk merging for a tenacious stroll which teases and lures the listener to one irresistible call of a chorus demanding eager participation. As in the first song, the band casts wicked hooks and anthemic persuasions which manipulate by the second, a great throbbing bassline accentuating their dexterity as the track matches its predecessor in hitting the spot dead centre.

Mouth and Trousers is next up, a more controlled song which almost prowls ears initially even as a rush of riffs crowd them. It calms down further as vocals join the shuffle, rhythms keeping their restraint in place too. There is a whiff of pub rock to the song, a Dr Feelgood breath to its punk ‘n’ roll which brings another potent shade to the EP’s sound and though the track did not ignite the passions as richly as its companions, it had the body bouncing and vocal chords indulging especially through another potent chorus.

The EP is completed by that latest single, Dark Horse. The song is a muscular affair of alternative rock which straight away springs a lure of firm beats and juicy hooks, building on their prowess with appetising grooves and a brooding bassline aligned to almost predacious beats. Recalling bands such as The Motors and Mind Museum, the track dances in the imagination whilst arousing the spirit.

With new recruit Julien Bruinaud completing their line-up on bass, Who Killed Nancy Johnson? are ready to build on their previous success with a real nudge on national attention, the thoroughly enjoyable Flat Earth Theory irrepressibly leading the persuasion so watch this space.

Flat Earth Theory is out now @ https://wknancyj.bandcamp.com/releases

 

https://www.wknancyj.com/     https://www.facebook.com/WhoKilledNancyJohnson/     https://twitter.com/WKNancyJ

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

Valensole – Make Pace EP

Just under a year ago, British punks Valensole sparked intrigue and pleasure with their debut EP, Where We Should Be. It was a potential loaded, ear grabbing introduction to the Southampton trio suggesting a band with all the right attributes and imagination to make potent strides within the UK rock scene. Now that suggestion has been reinforced and given greater strength by Make Pace, a second EP of raw and rousing punk ‘n’ roll very easy to devour.

Embracing inspirations from the likes of Nirvana, Green Day, Sum 41, and early Foo Fighters, Valensole was formed in 2016. The threesome of vocalist/guitarist Elliott Jones, guitarist Nick Jones, and bassist Dave Parker certainly had ears and praise attentive with that first EP and such the fresh character and tone to its successor, we can only expect them to find much even greater attention upon the release of Make Pace.

With Kurt Philips providing drums throughout, the EP kicks off with Giving Up, its jumbled start instantly spawning a tasty guitar hook which soon leads into a tenacious stroll through ears. Simultaneously a new richer flavouring to the band’s punk sound begins tempting, the track merging its raw traits with infectious enterprise as it increasingly stomps around. Dave’s bass has a gorgeous dark steely tone, Elliot’s vocals matching its lure in earnest attitude as his and Nick’s guitars throw their sonic wares around. As with the first EP, we found flavouring more akin to the likes of Psychedelic Furs and The Vibrators than those earlier mentioned influences but more so the band’s own voice in sound and invention emerges this time around.

The potent start is soon matched by the following M.A.D, the track immediately getting under the skin with its opening spicy hook. Both guitars tease and tempt, uniting in a fiery lure backed by the stirring swings of drums and the grumbling stroll of the bass. There is a great vintage punk lining to the Valensole sound, one especially vocal in the rousing antics of the second song even as it slips into calmer, provocative waters. It all erupts again for a tenacious finale as physically bracing as it is catchy before So Bored moves in with its ear nagging endeavour. Carrying a whiff of Buzzcocks to its melodically scored trespass of a hook, the track soon revels in its caustic rock ‘n’ roll breeding but as its predecessor is a proposition which is unafraid to explore unpredictable twists and turns before lighting its riotous touch paper once again.

The EP ends with Don’t Let Go, a song again drawing those Richard Butler and co references while uncaging its own individuality. Equally there is a garage punk meets Generation X scent to the song, a thickly flavoursome hue adding to the unrelenting pleasure the track and indeed Make Pace overall sparks.

Valensole’s sound is on a journey, one still evolving and growing. The band’s first EP hinted at its promise, the second reveals new depth and adventure to add to that potential. When it will all come to full maturity time will tell but the ride on the way is undoubtedly going to be great fun with the anticipation of many more easily devoured treats like Make Pace.

Make Pace is released February 9th.

https://www.facebook.com/valensoleband    https://twitter.com/valensole_band

Pete RingMaster 06/02/2018

Copyright RingMaster: MyFreeCopyright

Baronen & Satan – Why Does The Blood Never Stick To Your Teeth? / Satan Is A Lady

As each year passes it seems harder to find something truly unique to feast upon so those encounters which do carry that special character make a most striking impact and hopefully temptation. The sound of Swedish outfit Baronen & Satan magnificently fits that claim and hope, its nature a psyche twisting trespass and voice a senses searing incitement which together go to make one glorious seduction on body and imagination.

Though formed in 2014 after guitarist Philippe Jean-Piere Dominique Sainz met vocalist Linda Rydelius, the pair uniting in love and creativity once meeting, our introduction to Gothenburg hailing Baronen & Satan is now through Dirty Water Records USA and their releasing of the band’s new EP, Why Does The Blood Never Stick To Your Teeth? in tandem with the re-release of 2016 album Satan Is A Lady. It is a long overdue meeting as hindsight shows the band has been teasing attention across a horde of tracks and years but one we like so many others are greedily devouring. Completed by bassist Marie Bergkvist and drummer Stefan Young Sik Olsson earlier this year, Baronen & Satan create what we assumed has been self-penned as “Garagedeath”.  Whatever you call it, the Baronen & Satan sound is a wonderfully invasive yet flirtatious trespass of reverb grafted adventure conjured from a mix of garage and psych rock, garage punk, noise, and punk rock with plenty more teasing away in its predacious and haunting swamp thick sonic psychosis.

Produced by Jim Diamond (White Stripes, Dirt Bombs), Baronen & Satan’s new EP greedily consumes the senses from its first breath. Why Does The Blood Never Stick To Your Teeth? opens up with new single Elisa and instantly consumes ears in a tide of riffs and rhythms entangled in spicily melodic tendrils. As a bass grumble teases, beats fly with fevered energy, Sainz’s guitar weaving away with salacious grooves as the distinct and unique tones of Rydelius deliciously ‘whine’. Her presence almost steals all attention but with the devilish textures and enterprise at play around her, the whole song seduces in equal measure to get things flying.

The following Buttermilk Sky has a similar but fully individual presence and sound, its psych and garage rock bred rock ‘n’ roll an incitement to appetite and hips as it dances provocatively in ears. Its citric melodic spicing is less kind in the second track compared to its predecessor but just as alluring; the song offering a beefier intrusion taken to darker temptation yet again in the EP’s title track. With the swinging biting beats of Olsson rampant and Bergkvist’s bass sound gnarly, seduction is swift from personal tastes; add the sonic squall of Sainz and Rydelius hellish beauty in voice  and submission to the track’s rapacious rock ‘n’ roll is welcome slavery which the melodic toxicity with its tinge of Echo and The Bunnymen compounds.

All three tracks unite for one unwavering increasing addictive proposal to have us reeled in hook line and sinker; a triumph equally matched by last year’s album, Satan Is A Lady. It similarly needs mere seconds to tempt and begin brewing up a tight grip as opener Lady Creature lies its initial sonic nagging upon ears. Quickly the boisterous beats of Olsson descend and romp; the track bouncing around with eager tenacity as Rydelius casts her riveting vocal antics into the stomping devilment of a proposal. At times Scottish trio The Creeping Ivies is provoked in thought by the track but a great spicing to something again as unique as all the subsequent essences and adventures across the album prove to be, all hues in viral sonic toxins particular to Baronen & Satan.

Next up is Catwalk, its feline prowl lively and predacious with Olsson’s swings marking every step with zeal. Always fuelled by a boisterous spirit, the song stalks the listener as vocals wrap their flirtatious clutches around psych and garage infestation. Magnetic drama, the song sublimely bewitches before the even more energetic exploits of Asskisser bound in. With shimmering sonic suggestion and more rhythmic rascality, a PiL-esque sheen invading its bold canter, the track commands the listener like a puppeteer, its noise nurtured tendrils veining its wonderful manipulation.

Headcuts lurks and taunts with an instantly open Cramps inspiration, continuing to size up its victim before launching into a rapacious garage punk stroll with fifties rockabilly spicing. As its predecessor, the track is glorious; caustic manna for ears and instincts which a fine line of sixties garage rock a la Cradle to add another twist.

Expanding and thickening its ravenous enterprise and character, Satan Is A Lady hits another sweet spot with the sonic buzz of The Projects, a minute and a breath of irresistible niggly punk rock which Comet emulates in success with its own demonic affair for ears and imagination. As most tracks, its core is a relentless nagging which gets right under the skin; heavy dark bait bred on rhythmic and sonic almost wanton dexterity honed into a cauldron of virulent temptation as carefully woven as it is rabidly unleashed.

The album’s title track swings in with muscles tensed next, a riveting PiL meets Siouxsie and the Banshees hook circling ears as once more the compelling tones of Rydelius grip the bold intrusion. Sainz’s initial bait swiftly develops a Buzzcocks spiced essence as the track flexes its animated imagination, every second a beguiling and infectious scheme to enslave.

Through the psychotic stomp of Pony and its sonic Cramps meets the Orson Family moonshine pleasure only escalates, the latter of those hues a bolder essence in the dark saunter of Sugarwalls which too only inflames an already greedy appetite for band and sound. Invasively ethereal and ravenously portentous, the song also gives a glimpse of what you might imagine bands like Blood Ceremony and Jess and the Ancient Ones could sound like if mutant off springs of Lux Interior and Jim Morrison.

The album ends with the invasively haunting Underwater Love, an immersion into a sonic sea of intrigue and unpredictable imagination steered by the alluring vocal ingenuity of Rydelius. It is dark, bordering on suffocating and a compelling end to a quite thrilling and refreshing album.

Uniqueness is rare but when it comes it should be devoured especially when it bears the dark discord and beauty of Baronen & Satan.

Both Why Does The Blood Never Stick To Your Teeth? and Satan Is A Lady are out now @ https://baronenandsatan.bandcamp.com/album/why-does-the-blood-never-stick-to-your-teeth  and https://baronenandsatan.bandcamp.com/album/satan-is-a-lady respectively.

https://www.facebook.com/baronenochsatan/

Pete RingMaster 07/11/2017

Copyright RingMaster: MyFreeCopyright

Smidley – Self Titled

Photo Credit Hayden

Named after his sadly departed “beloved black lab mutt”, Smidley is the new solo project of Foxing vocalist Conor Murphy. It is an adventure which sees the singer move away from the more intense post rock/dark ambient pastures of the St Louis band to explore lighter climates of indie pop infused alternative/psych rock but lyrically continue his ability to immerse the listener in the heart of songs which on his debut self-titled album either wear an almost mischievous grin or share the richest shadows of emotions. The result is a release which personally captivates far more eagerly and memorably than his day job and leaves the imagination basking in the fusion of melancholy and joy.

Talking about the album, Murphy announced its making as “…the greatest time I’ve ever had making, recording or playing music in my life,” going on to say “I tried to eliminate any expectations for this record and focused entirely on having a good time with it.” Listening to the ten tracks making up the album, it is easy to hear that care free emotion and energy, each song seeming to have a smile on its creative face whether romping with ears or sharing their more intensely intimate moments.

Featuring a handful of Murphy’s friends with saxophonist Cameron Boucher from Sorority Noise, Tigers Jaw’s guitarist Ben Walsh, and drummer Eric Slick of Dr Dog and Lithuania fame amongst them, the Joe Reinhart produced and mixed album opens up with the feisty exploits of Hell. Within its first couple of breaths, it is energetically strolling through ears with bold beats and a great bulbous bassline courting a bubbling of steely riffs and hooks; Murphy’s distinct melodic tones casting their warm caresses across it all. The track’s canter seems to grow more tenacious as brass and melodies weave their sultry patterns across the swiftly engaging slice of inescapably infectious pop rock.

The excellent start is continued and escalated by successor No One Likes You; it’s almost teasing web of cheeky hooks and quaint melodies irresistible with their Buzzcocks meets Weezer like character and virulent catchiness. With more creatively shiny things to induce raw lust and a greedy appetite than found in a diamond mine, the song is pure captivation working its flirtation up to the end when Dead Retrievers tries to stake its claim on the imagination. Its success is not slow in coming either, its more stable strums and calm exterior highly persuasive as it leads ears into a more tempestuous yet still composed blaze of multi-flavoured enterprise, Murphy again steering things with his emotive expression and thought catching words.

It’s more surly body and increasingly fiery climate easily hits the spot before the melodic kiss of Nothing’ll warms up ears and enjoyment; voice and guitar a bare reflection subsequently joined by the warm sighs of sax and the heavier, more hearty saunter of bass and beats. The song is a prime example of the melancholy and hope as well as contentment shaping the release, the latter hues more prevalent within the swinging dynamics and virile indie pop of Pink Gallo. Its intoxicating aroma of psych pop and volatile shoegaze is instinctively compelling, increasing its lure as more volatile textures and flavours erupt across its wonderfully mercurial landscape.

The outstanding Fuck This brings a temptation bred in the infectious inspirations of something akin to The Jam inflamed with Murphy’s own personal devouring of numerous strains of rock ‘n’ roll while It Doesn’t Tear Me Up is an acoustic exhalation laying on ears and heart like a fresh morning dew bred from previous harsh impacts but sharing the dawn of new hopes and adventures. Both tracks simply beguile in their differing ways as too Power Word Kill with its contagion of rock pop; harmonies and melodies rivalling hooks and driving rhythms in seduction and manipulation.

The album closes with the twin acoustic led and emotional contemplations of Milkshake and Under The Table, two tracks which smouldered in their persuasion rather than commanded quick and forceful attention but reached the same height of temptation over time. The honesty to both tracks is as gripping as their sounds and invention, providing the release with a powerful and compelling end.

Also featuring the craft of guitarists Jon Heredia, Dominic Angelella, and Joe Reinhart alongside that of bassist Tyler Long, and percussionist Ricardo Lagomisino, the Smidley album is an instant joy which truly just gets bigger and better with every outing.

The Smidley album is out now through Triple Crown Records and available @ https://smidley.bandcamp.com/releases

https://www.facebook.com/smidleymurphy/

Pete RingMaster 03/06/2017

Copyright RingMaster: MyFreeCopyright

Kill for Eden – Woke Up Alone

Ahead of their new album Petty Crimes, due for release out April 21st, UK rockers Kill for Eden have just provided a sure temptation to anticipate and explore its body with new single Woke Up Alone. A magnetic slice of fire lined melody and captivating contrasts, the song is impassioned rock ‘n’ roll, as much punk as pop and hard rock in its character and thoroughly enjoyable.

London based and formed in 2012, the quartet have an already well-received pair of EPs and self-titled album under their belt, releases along with their live presence which has earned praise and support from fans and media alike. With Woke Up Alone as a clue, the upcoming album feels like it could be a step to wider recognition and richer attention, especially if it builds and pushes further the growth of sound and imagination found in their new single.

A crash of guitar and soaring harmonies is the first spark grabbing the imagination, a lively lure which soon settles into a calm moment of melodic strumming alongside Lyla D’Souza’s magnetic voice. Julian Palmer’s bass soon brings its brooding essence to the blossoming mix before a subsequent eruption of emotion and intensity. It is never near being a storm, as riffs sizzle, Dave Garfield Bown continuing to cast his melodic web while drummer Wally Miroshnikov has control in his swings yet that punk essence is a bold and forceful edge to a moment and chorus which is equally new wave like in its catchiness and warmth. D’Souza also continues to impress and captivate, her fire perfectly ebbing and flowing with the rise and simmer of the sounds around her.

As the song increases its hold with every listen, its infectious side in many ways reveals kinship with the Buzzcocks, more importantly it also wakes up an appetite to see what Petty Crimes has in store; more of the same would go down very well.

Woke Up Alone is out now with Petty Crimes released April 21st.

Upcoming Live Dates:

Thursday 4 May – The 100 Club, London W1, supporting The Barnstormers. (album launch)

Saturday 6 May – Hanwell Hootie Festival – London

Friday 19 May – The Great Escape Brighton (pm) & The Iron Road – Evesham (eve)

Friday 26 May – Phoenix Bar, High Wycombe

Tuesday 30 May – The Horn – St. Albans

http://www.killforeden.com/    https://twitter.com/KillForEden   https://www.facebook.com/killforedenrock

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Rotten Mind – Self Titled

photo_by_Mikael_Lindqvist

Talking about the band’s new self-titled album, Rotten Mind vocalist/guitarist Jakob Arvidsson stated that, “Our main idea was to work in a new way. We had no rush and the songs were written during a period that lasted for over a year.” Whether that intent and process was the reason or the spark, the Swedish quartet’s second album has emerged with new maturity and creative roundedness in sound and songwriting. Without losing the punk snarl of its predecessor, it is a proposition which has attention on board within a handful of seconds and firmly held until its final breath.

The album sees Rotten Mind uncage their distinctive fusion of punk, garage rock, and post punk, a sound which simultaneously feels familiar yet forcibly fresh. It is a mix which saw their debut full-length, I’m Alone Even With You, eagerly received and praised upon its release in 2015, its success followed by a torrent of live shows and two tours across Europe. Indeed the writing of its successor, taking over a year, simultaneously occurred as shows came thick and fast; songs relishing the experiences and inspiring sights found to push on in all aspects from its predecessor.

As evidenced from its opener alone, the album flings physically gripping hooks and imagination inciting melodies at will; all keener and more powerful than anything the band has conjured before while rhythmically the release is a cauldron of anthemic temptation. It is fuelled by the scuzzy almost suffocating Rotten Mind sound which marked the first album and the Uppsala hailing band’s potent live presence; Wish You Were Gone starting things off revealing all of those established  attributes and plenty of new ones.

Dangling bait sonic initially, one soon entwined with a spicy melody, the first song soon bursts into a virulent stroll, the album’s first essential hook from Johan’s guitar wagging an irresistible finger as the rhythms of bassist Rune and drummer Victor collude in rolling infectious bait. The temptation only increases as the track boils, Jakob’s vocals just as magnetic as that first strand of piercing persuasion continues to persist while revealing psychobilly tendencies against the track’s intensifying punk punch.

There is a touch of Psychedelic Furs to song and release, nothing concrete just a scent which continues in the more irritable rock ‘n’ roll of Things I Can’t See. At times, as beats jab and riffs bite, the song feels like it is slamming its fists down on the table temperament wise but discontent aligned to a catchy restraint ensuring great volatility in the rousing incitement of sound and enterprise. The track is one of two singles laying down potent teasers for the album earlier this year, the second following straight after.  Still Searching sonically shimmers before laying down a trail of rhythmic manna, the brooding voice of the bass courting rapacious beats. The track’s post punk persuasion makes swift slavery of ears and appetite, its bait only accentuated by the subsequent acidic hook and swinging groove loaded gait of the song. Kind like a mix of The Jesus and Mary Chain and Sex Gang Children, the track, as the album, simply seizes ears and appetite with relish second by second.

Dark Intentions bounds along with contagious energy and rhythmic dexterity next, its atmospheric and emotional shadows just as potent as its melodic suggestiveness before Got Me Numbered reveals a seventies inspired punkiness recalling the likes of Buzzcocks and The Vibrators. Both tracks have the body bouncing and spirit ignited while When You Come Back meanders along in a web of wiry melodies as rhythms grumble. Infectious vocals especially within the potent chorus only add to its lure, its tapestry of flirtatious strums and inventive persistence demanding inevitable and lustful listener involvement.

Through the creatively and emotionally agitated Real Lies and Out Of Use with its darker predatory hues,  enjoyment is an eager torrent, the first captivating with robust rhythmic incitement and hard rock infused melodic jangle while the second prowls the senses with a union of primal and fiery contrasts. There is a surface similarity to many tracks within the album, but a deception greater attention defuses with both tracks showing potent diversity, with the second especially bold.

The rock ‘n’ roll clash and holler of Safer Place keeps things feverishly lively, its dark haunting textures surrounding a sonic blaze of invention before I Need To Know brings things to a richly satisfying close with its boisterous croon.

It is a fine end to an album which brings greater individuality to the Rotten Mind sound though there still feels like there is plenty of room for greater uniqueness to blossom which on the thick enjoyment of their album only adds further excitement for the future.

The Rotten Mind album is out now through Lövely Records @ https://lovelyrecords.bandcamp.com/album/rotten-mind-rotten-mind

https://www.facebook.com/rottenmindua/

Pete RingMaster 27/03/2017

Copyright RingMaster: MyFreeCopyright

Andy J Gallagher – Boy Racer / I Don’t Wanna Be Like You

andy-j-gallagher-pic-5_RingMasterReview

If Andy J Gallagher, once of punky avant-Britpop band The Shopkeeper Appeared, sparked real anticipation for his new album with previous double A-sided single Because We Are/ Sheena’s Big Night Out, he has brought real lust to the wait for Ego with its successor. Again offering two tracks which leap from the speakers with relish, Gallagher’s new proposal is as fresh as it is nostalgic with punk and new wave instincts colluding with indie nurtured rock ‘n’ roll daring.

Though it has been seven years since releasing his well-received debut album Helicopter, Dolphin, Submarine, Gallagher has stayed busy playing live and creating in the studio. The past months have seen him link up with like-minded talented musicians for the upcoming Ego and also ex-The Damned member Roman Jugg who produced, as its predecessor, the album. As mentioned, the last single alone awoke an eagerness for the forthcoming full-length which the twin attack of Boy Racer and I Don’t Wanna Be Like You only concentrates.

andy-j-gallagher-artwork-boy-racer_RingMasterReviewBoy Racer traps ears with its opening hook, a delicious lure soon joined by punchy beats and a groaning bassline. Opening up its vocal and melodic enterprise, the song teases and flirts like a mix of Television Personalities, BabyShambles, and Ste McCabe; continuing to surprise and entice with whiffs of seventies punk pop and rock ‘n’ roll for extra spice of Buzzcocks meets Showwaddywaddy like mischief.

The track is pure infection, minimalistic in body and sharp in touch and swiftly matched by I Don’t Wanna Be Like You. With a rawer breath and more forceful attitude, the song similarly springs inescapable hooks amidst rapacious riffs and rhythms. Like the ringleader to the devilry, Gallagher further stirs attention vocally in the midst of the forcibly magnetic and enjoyably dirty romp with its uncompromising persuasion. Again it is a fusion of eras and styles honed into something unafraid to bare its inspirations but present a unique temptation; both tracks sharing that success.

Fair to say Ego cannot come soon enough with the promise of some more great adventures to relish. Andy Gallagher has not really been away but certainly he is back in the public ear thanks to two mighty singles providing a quartet of irresistible treats, the latest two set to draw bigger spotlights for creator and album all on their own.

Boy Racer / I Don’t Wanna Be Like You will be released March 17th.

http://www.andyjgallagher.com/    https://twitter.com/andyjgallagher

Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright