Project Silence – Flesh Of The God

PS\- Reputation Radio/RingMaster Review

Though less than two years since Finnish industrial metallers released the rousing and impressive single One Way to Hell, time seems to have gone particularly slow waiting for the next instalment of their creative ravishing of ears and imagination. The wait is now over as the band unleashes new single Flesh Of The God, a track building on the potential and gripping qualities of its predecessor and those bred in the band’s previous debut album, and with ease revealing itself as the Kuopio quintet’s finest moment yet.

cover\- Reputation Radio/RingMaster Review   Project Silence began as 2008 opened its eyes, originally as a dark electro /aggrotech seeded solo project for founder and vocalist/programmer/keyboardist Delacroix. Towards the end of that first year drummer Silve_R alongside guitarists J and Mr. Sanderz were brought into the project with the following summer seeing the band begin work on their first album. Its creation and songs saw a stronger industrial and melodic metal flavouring evolving in the band’s sound, one reinforced by the rabid throaty tones conjured by new bassist Sturmpanzerjäger who joined up at the start of 2012. 424 was released in the winter of that year, its sprawling brawl of intense promise within a conviction of brutality and rabid enterprise soon awakening attention and acclaim. The album was as diverse as it was uncompromisingly contagious, a potent base from which One Way to Hell grew its own fresh and creative fury across two songs. It was a new stretching of the band’s imagination and bracing sound but now shown as also one step towards the fiercer and more skilfully incendiary design of Flesh Of The God.

The new single makes a low key yet ominous arrival around ears, keys brewing a sonic mist and warning from which the song erupts with rampant riffs, rousing rhythms, and rugged creative terrain. The keys continue to weave an alluring atmospheric coating around song and imagination, within which the vocals of Delacroix, aligned to equally volatile sounds, pounces with emotive growls and venomous expression. Melodic persuasion is just as potent and persuasive in the tempest too, bringing a warmer climate and tempering to the hostile emprise trespassing and thrilling the senses but simultaneously emphasizing its power and uncompromising attitude.

Electro, metal, industrial, symphonic and more are textures and spices all entwined within the creative maelstrom of Flesh Of The God, the result Project Silence’s most inventive, explosive, and virulent offering to date.

Flesh Of The God is out now @

RingMaster 16/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @


Project Silence – One Way To Hell


    Project Silence is a sonic and invasive scourge from Finland which ignited a lasting passion and hunger in us for their presence through the album 424 which unleashed its extreme toxicity last year. The album was brawl of intense promise which shared a brutality and bewitchment that overwhelmed and seduced the passions. The band now return on December Friday 13th with new single One Way To Hell, a two track creative fury which confirms all of the intensive promise and stature of the previous release whilst stretching the band’s imagination and abrasive qualities even further.

Hailing from Kuopio, the band was formed in 2008 as initially a solo project of Delacroix (vocals, programming, keyboards),  who began brewing up a distinct dark aggressive design from ferocious essences bred in the likes of industrial metal, dark electro, trance, aggrotech, and black metal. A demo emerged soon after the project was unveiled followed to relative success by the single Voices the following year. 2012 saw the line-up of Mr. Sanderz (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) alongside Delacroix before debut album 424 was uncaged on the world to strong responses from fans backed by equally enthused critical acclaim from within the underground press alongside radio play on shows like The Bone Orchard at The experimental muscular confrontation of the new single takes the heights set by the album not maybe to new plateaus but certainly to intriguingly different and just as impressive corrosive adventures.

One Way to Hell emerges from an enveloping sonic mist; one soaked in menace and brewing industrial toxicity speared by one way to hell coverincreasingly intimidating beats and an asylum bred laugh. As soon as it has comfortably coaxed attention and intrigue from its recipient the band expels a squall of heavy duty rhythms and equally muscular riffs stalked magnetically by the shadow dwelling keys and malevolent vocal growls bred in even darker places. The track does not go for the jugular but instead bears its full weight upon the senses to immerse the whole of the listener and thoughts within a bruising and merciless yet seductive pestilence. With a deceptively contagious chorus and a just as virulently tempting swagger to its stride, the song initially does not make the same immediate impression as many tracks on the album did but with startling imagination and twists, like the excellent full stringed almost folky lure crafted by the guitars, the encounter evolves and increases its persuasion through its first and definitely across multiple returns. It is a slow burner in many ways but soon finds the flint to spark an enthusiastically hungry appetite for its bold adventure.

The track is accompanied by Death and Madness, an onslaught which carves a swifter impact on and submission from the passions to reinforce the thrilling potential and striking evolution of sound as presented in One Way To Hell. Production is less precise and clean on the second track which only adds to the throaty lure offered by the bass and mutually predacious guitar riffs punctured by just as threatening rhythms. Coursing with infection dripping grooves and rabid hooks, as well as dangerously alluring melodic seducing from the keys, the track is an epidemic of incendiary pestilence and destructive enterprise woven with threads of wanton beauty and classical elegance. Masterful and creating an even greater creative alchemy than its impressive co-provocateur, the song is a towering predator and excuse for all newcomers to check out the uncompromising might of Project Silence.


RingMaster 11/12/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Dark Energy Discoveries: The Cosmic Light EP


    The Cosmic Light EP is an intriguing two track release by Dark Energy Discoveries which combines the shadowed corners of dark electro and industrial with the shimmering radiance of electro pop and warm ambience. It is a deathwave fuelled encounter which challenges and mesmerises in equal strength and mystery and leaves a certain desire to know and hear more.

The little info which seems to exist about the project declares that ‘A clan of inter-dimensional beings have joined forces to explore the ever-expanding reaches of existence through the intersticed galactic portals of the Ravener and record those Distant Wisdoms they uncover. They will encounter strange, enthralling worlds and realms of science, magic, and arcane knowledge. This team of abnormal sages is known throughout and beyond time and space as Dark Energy Discoveries.’ Now for personal tastes this poetic kind of story only raises more options to ignore than investigate but it would certainly be a mistake in regard to Dark Energy Discoveries. Their EP is a free release to lead into  debut album Distant Wisdom and as said an intriguing as well as magnetic invitation into the band itself.

The title song emerges from a brewing ambience of crystalline ambience complete with heated melodic brilliance and compelling electro resonance. Once into its stride the track expands to embrace the senses with firm heady beats and a consuming dark wash of emotive breath wrapped in the continuing golden electro persuasion. The dual vocals are the first element to ask questions of thoughts and reactions, the clean smooth vocals accompanied by a restrained yet caustic malevolent delivery offering a black metal vein to the now enjoyably imposing piece. To say the track is Ultravox meets Cradle Of Filth with Ghost In The Static and God Destruction in attendance would not be that far from the mark even if still vague in revealing all that is going on within song and release. It is a compelling track which lingers and continues to tease thoughts long after its departure as does its companion.

Beyond The Ashes is a gentler caress though no less impacting in sound, imagination, and in the craft to inspire uncertainties, delight, and questions. The harsher vocals this time have a more spoken narrative to haunt alongside the once again impressive clean delivery as well as the glowing electronic shards and rays of aural flames and sunlight. As its sister track, the song immerses ear and thoughts in a soundscape of glorious sonic colours and vibrant shadows which float across and around the heat of the piece.

The Cosmic Light EP captures the imagination with ease and leads to a keen desire to keep close attention on band and their forthcoming album.

Check out and grab the EP at or


RingMaster 27/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Project Silence: 424

Proj silence

    A new scourge to confront extreme noise fans, Project Silence is a Finnish band which is a brawl of intense promise and in 424 has unleashed an album equally as powerful and striking. Though not without flaws, the release is an immense conviction of brutality and bewitching enterprise, in fact that its only real prime issue in that it offers so much in diversity and ideas it risks confusing the listener into indecision over its impressive contents.

From Kuopio, the quintet of Delacroix (vocals, programming, keyboards), Mr. Sanderz (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass), combine a ferocious furnace of industrial metal, dark electro, trance, aggrotech, and black metal, setting the band somewhere between God Destruction and The Browning with primal essences of Mortiis adding their serpentine malevolence. Formed in 2008 as originally a solo project of Delacroix, the band released its first songs soon after as a free download before working on their debut album and releasing a pair of preview songs in 2010. Obstacles and delays held up the album until the powerful collection of invention and aggression was released at the tail end of 2012. Now with its experimental muscular confrontations open to the world there is an expectation, after listening to 424 that Project Silence is on the first major step of an impending forceful ascent.

The title track wraps around the ear first, the electronic instrumental a warm expanse of electro warmth over slightly blistered 424coverambience whilst keys evoke a tender yet firm invitation to the heart of the release. The piece gives no indication of the destructive intent to follow though its brief minute and a half is merely a pleasing slight-of-hand as the malice of Pressure Revolution takes its place. The track plunders the ear initially with electronic teases and riotous shouts before gaining a stride of rampant electronics and hungry riffs. In full flight the song is a storm of brawling intensity, grazing acidic vocal squalls, and transfixing sonic rain of melodies and electro shards of infection. It is an undemanding yet sinewy encounter which has essences of Houston! and Celldweller within its heated stance.

The following My Reality immediately invades the ear with a darker ambience and invading shadows leading to a malicious caustic vocal and predatory black metal flavoured persuasion. Whereas its predecessor was a relatively direct offense the songwriting here is an evolving and senses searching journey which ravishes and seduces with equal hunger and effect. A guitar power metal infused temptation is just one seamless escapade on the insidious encounter whilst the symphonic caresses in the latter part of its presence is an extra fire of unexpected pleasure to add further diversity to song and release as is Stardancer (Raven’s whore). The track opens with a trance soaked wash which persuasively leads one right into the furnace of rampaging energy and riffs driven by a ravenous breath. Once more it is a song which into its onslaught skilfully and passionately merges a distinct spicery, the track a raptorial tempest which shifts from bringing loud whispers of Rammstein and The Kovennant to those of Firewind and Enter Shikari.

The corrosive Keeper with its dramatic keys, euphoric ambient symphony, and riveting electronic grandeur, is a powerful and compelling slice of symphonic metal imagination but again as with all songs employs a weave of provocative textures and sounds which crosses genres and appetites. As mentioned at times you feel there is almost too much going on, though everything is with a craft and inventive sculpture it is impossible to refuse its addictive lure and the more you immerse within the album the more its persuasion is dominant.

From the singular techno presence of Sky, Space and Twilight Zone, a track which perfectly accomplished did not manage to spark any fires without that viciousness that pervades throughout the rest of the album, and the black metal malignancy of the again strong but ultimately uninspiring Alone (Crushed by Your Lies), the album is soon preying on the passions once more with firstly the feral BEAST and its successor Cage of Hate. The first of the pair fuses black and pagan metal into a voracious devouring of the senses with dazzling yet shadowed industrial magnetism whilst the latter is an incendiary soundscape of spiralling elements and ideas from again a wealth of genres and styles brought into a contagious slightly suffocating maelstrom of imagination.

424 is completed by the dark electro metal revelry of Everything where again the likes of Rammstein stalk thoughts and the short evocative instrumental Promise to bring a rounded closure to the release. It is an excellent release which impresses from start to finish whilst breeding an even more powerful promise and anticipation of the band in the future when they find their unique voice, which suggested by the album is still a search in progress. The bottom-line is Project Silence left us enthused and breathless, enough said.


RingMaster 27/02/2013


Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Returning to play – An interview with Fredrik Croona.

Fredrik Croona4

This month sees the debut album from Swedish harsh EBM/industrial/dark electro band Cynical Existence unveiled, a release which ignites further the already blazing passion inspired for the one man project of Fredrik Croona as forged by his previous two EPs.  The founder and one half of the excellent aggrotech/industrial act Project Rotten and former vocalist of dark electro/industrial band Menschdefekt, Fredrik with his first album Come Out And Play ventures further in to the darkest corners of the human condition through his own personally inspired and emotive experiences and thoughts to provoke and evoke. Grabbing the opportunity to talk with the man again and ask about his new imaginative and melodically abrasive dark engagement we asked him about the release and more…

Hi Fredrik and welcome back to The RingMaster Review. It has been a year since we last talked with you how has the time treated you personally and with Cynical Existence?

Thanks Pete, Wow…really? Time flies when you’re having fun eh? I’ve been keeping active that’s for sure, working on new stuff and playing around quite a bit. I can’t really complain, 2012 was a pretty damn good year and I hope 2013 will be even better.

You are about to release your excellent debut album Come Out And Play in February, how are the emotions as the date it is unleashed draws closer?

I am eager that’s for sure, and I really hate to wait. It will drive me crazy one day, that’s for sure. And it’s not close enough! Damnit, I want it out now! But to be honest, it’s exciting to be able to watch what you’ve been working on for quite a few months become something physical (yes, I already have a few CDs here at my place).

After the well-received responses and acclaim garnered by your previous EPs, A Familiar Kind Of Pain and Ruined Portrait, are the emotions different in regard to Come Out And Play this time around?

I have no idea, haven’t gotten any reviews of the album yet, besides yours of course and you really seemed to enjoy it. I’m hoping that when I do get other reviews and opinions from people they will enjoy it. Well I actually lied, because a few people have heard my teasers and really seem to be digging it haha.

How would you say your songwriting and sounds  have evolved between your first release and the new album and certainly the stuff AM1187CDyou are working on now?

In the beginning I don’t think I evolved that much to be honest, I just kept working and working and working on new stuff every f*cking day and basically shooting out tracks. When I started out I could make a track in one day more or less, but the more I actually worked and played around the longer it took to make a track. Now it can take me 3-4 days to complete the music alone (if not even longer sometimes). And when it comes to sound it always depends on what I am listening to at the moment.

Come Out And Play has a stronger intensity and investigates deeper shadows than the EPs, is that fair to say?

Yes, mainly because the album focuses more on my own life and my experiences throughout it. Sure the older tracks are also connected to me in most cases, but this one holds more feelings and I try to express them through my music and vocals. What I can say now thought is that my new stuff is even more personal and deep than the debut.

Again the album is borne of your personal experiences and thoughts then?

Every track I make is more or less personal in its own way and holds a story of its own. What I want to do in the future is actually make a “concept album“ with every track linked to specific events of my personal life. Even thought everything might be personal, there’s still some fiction in there.

How difficult is it to interpret your feelings and thoughts into your music and do you attempt to get the listener to feel exactly what you are revealing or just to feel something?

It’s not really hard at all, since basically as soon as the lyrics are connected with a track and the vocals are on there the song changes from “just another track” to song that actually has a meaning to me. I write music for myself and if I can manage to deliver a message or get the listener to understand what I’m trying to express it’s all great. But in the long run I still focus on making something I feel strongly for.

Where do you start when writing songs?

Hell if I know lol. I just start with whatever comes to mind.

Are you a writer who once a track is finished can leave it alone or someone who has to keep nibbling away at it? I ask as you are known for some great remixes of other artist’s music so wonder if it also applies to your own creations unofficially :)

It depends, sometimes I throw a track over to a friend to see what they think of it and then maybe we’ll bounce it between each other every time I change something and in some cases I just work on it and feel that it’s ready and well that’s that. And about remixes, I have no idea what you mean since I’ve only made about 3 remixes so far. I hate remixes, it’s boring as hell.

Fredrik CroonaThe album also includes a couple of tracks from the earlier A Familiar Kind Of Pain, both songs Paradox and Insecure two of our persistent favourites. Why the inclusion and have you tweaked or revisited them creatively for the album?

Those are two of my first and best tracks ever, so why not? They will rip the dance floors apart! And about changing anything about them, I don’t think I actually did. The album has after all been ready for a few months now.

Do you have any particular moment or track on the album which makes you the proudest or gives you a personal tingle?

I’m broken which is reworked by Pre Emptive Strike 01 is probably the best track in both terms of music and vocals, since it’s very personal to me. Other than that track GDI is fun, and I wonder how many of the listeners will actually manage to figure out what inspired me to create it and where the samples are from.

What is the next step for Cynical Existence after the album, possible live performances?

Going straight forward! Going to work on my second album and get that done and then I’m going to play a few shows in the US this spring, hopefully I might get some more interesting ones. We’ll see what happens.

Could you bring us up to date with your other band Project Rotten? What has been happening in that area of your work over recent months?

We’ve been busy working with the new album that’s been in the works for almost 2 years and then of course we have a new EP coming out tomorrow (1st of February)! So it’s been a busy time and this year will probably also be really busy, hopefully.

Is it still challenging to juggle the two bands or have you found a more relaxed working schedule between the two?

It’s not challenging at all really, I mean I just do vocals and lyrics and Kettil makes the music and the production. So basically he sends me a new track when it’s ready and I create my magic and BAM it’s done. So it’s very laid back.

How different is the buzz between working and releasing something which is created and performed by just you and working with Fredrik Croona2another creative force in Kettil for Project Rotten?

Project Rotten is obviously a lot bigger than Cynical Existence since we’ve been around longer , so I guess PR’s fanbase is bigger and well then it’s pretty obvious that you hear more from the fans on that side than on CE’s side. Naturally I hope that CE’s fanbase will grow even bigger and expand a lot these coming few months. I have to show people how awesome I can be.

Many thanks for sharing time with us again Fredrik and good luck with the new album.

Thank you and hope you will enjoy it even more after a few more listenings.

Would you like to leave with your personal favourite tracks from both Cynical Existence and Project Rotten?

Do I have to? LOL, just kidding. With PR I’d go for a new track called In Total Control and Club Death.

With CE I would go with I’m Broken and GDI

Read the review of Come Out And Play @

The RingMaster Review 01/02/2013

Copyright RingMaster: MyFreeCopyright

Piano Magic – Life Has Not Finished With Me Yet

Despite existing for sixteen years and their new album Life Has Not Finished With Me Yet being the eleventh from their creative minds, Piano Magic had eluded our attention to this point, something which maybe can be said of the UK as a whole to date, the band finding more appreciation and acknowledgement around Europe than in their homeland over the years. Research left only mystery going into the album as to what would grace the ears, their previous releases seemingly an evolving mix of dark electronic shadows, surreal pop, and most lately guitar heavy intensity. This first introduction for us suggests the band is returning to earlier sounds and aural themes, its heart a dark and mysterious weave of compulsive yet chilled thoughts and breath. It is at times quite mesmeric and captivating and in others a testing but wholly intriguing adventure of emotion and sound.

Released on Second Language Music, Life Has Not Finished With Me Yet sees founder member Glen Johnson alongside Jerome Tcherneyan, Angele David Guillou, Franck Alba and Alasdair Steer, with also additional guests throughout the release. The album is an evocative collection of songs which reflects and explores those dark corners of the human condition and life, a series of nihilistic ruminations to provoke thought and emotion. It is a deeply layered release emotively and aurally which ensures every second is drenched in intrigue and impactful resonance. Some tracks work better than others for personal tastes but there is never a moment when full willing immersion is not in place for the magnetic creativity.

The album opens with the brief Matin, a heated ambience of violin and vocal harmony to incite the senses to attention and lay a base soundscape to stir from. It leads into the wonderful Judas, a song which easily is the best on offer and the inciter of strong imagery and thought. Its dark sinister pulsing is a glorious intimidator to leave one slightly wary as the immense vocal mix and harmonies take flight within the Middle Eastern skies and breathtaking sonic landscape. Everything is perfect about the song, guitars and rhythms a teasing yet guiding companion into the warmth maelstrom of emotional energy and lurking shadows. The escalating energy at the climax is subtle yet obvious to rile up the edges of the mesmeric embrace ensuring the song is a challenging companion with dark secrets.

The following track The Slightest Of Threads saunters within sonic dust thrown up by its sweeping electronic heavy steps behind a transfixing bass and classy guitar enticement.  It is a melodramatic joy which seals the deal with the hypnotic moody cello sounds of Katie English and emotive vocals. Every stretch of its emotive arms brings another delight be it the keys or guitars entrancing the senses whilst the tempest of energies and caustic sounds leading into the final kiss of the song is dramatic and stunning.

The impressive start continues through the glorious minimalistic Sing Something, a song which feels like a doomy Young Marble Giants with the voice of Angèle David-Guillou captivating every atom of air, and the contagious prowling electro pop brilliance of Chemical (20 mgs) where the band walk in the footprints of Reproduction era Human League. With the title track completing the immense experience so far the album leaves one glowing under the diversity and ever evolving presence of the album, its startlingly invention and imagination in sound and construction hypnotic.

Weirdly though the remaining six tracks whilst not doing the opposite certainly did not have the same deep effect. It is impossible to offer any major reasons why other than personal taste but something in them or us lost the connection. The songs are still very easy to spend time with and are marked by their craft and skilled composition but just do not ignite any more sparks in ear or beyond. The Way We Treat The Animals with its provoking strings and keys does bring the senses to the boil though arguably out stays its presence a little. The arrangement of the track is magnificent but there is nothing to re-ignite the fires from earlier despite growing as a deeper and more welcome guest in thought and heart the more time given to it.

The sizzling and brittle ambience of Jar of Echoes again engages the mind as well as the ear with its haunting abrasive breath whilst the dazzling guitar and keyboard brew of instrumental Higher Definition is a shard of sonic sunshine within the album, both furthering the strong appeal of the album if still adrift of that first triumphant half.

Overall Life Has Not Finished With Me Yet is impressive and very enjoyable; an impactful delight all should make acquaintance with to find their personal highlights. Piano Magic ensures there will be some for all.

RingMaster 05/10/2012

Copyright RingMaster: MyFreeCopyright

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

TheDevilzWork: Floodlights

A release to crush skulls and overload synapses, Floodlights the latest album from Australian industrial rock band TheDevilzWork leaves nothing but wreckage in its wake. The album is an eight track corruption which violates and blisters every sense and emotion, an insidious aural decay using sonic manipulation as a weapon and evocative breath.

Formed in 2008 the band was soon firing up crowds across the regions of Melbourne and Australian Capital Territory, as well as releasing a self produced 11-track demo Bad Moon Rise. Shows supporting the likes of Voices of Masada and MzAnnThropik increased the awareness and following for the band, which with the release of Floodlights and some deserved fortune should see greater acceleration in its growth.

The album is a devastating tempest of industrial terrorism brought with malicious strains of diverse agitations from metal and death metal to harsh EBM and cyber crust. The result is as venomous and dangerous as the band name suggests and just as diabolical.

The opening Monochrome immediately seduces and obliterates the ear, its crunching march a delicious intrusion and the melodic whips of sound it unleashes an acidic wash of pleasure. Sounding like a fusion of Sepultura, Young Gods, Suicide Commando, and Skinny Puppy distilled through a sonic wind tunnel, the track ruptures the air with pure abrasive intensity. It is as hypnotic as it is caustic and leaves the senses pulsating and smarting in raw pleasure. The vocals of Tobias and Nailhead crawl and scrape the edges of its recipients as keenly and deeply as the sounds, making for a fully impactful and addictive pleasure.

The following Bulldozer continues the assault with equal heavy malice, its grasping grip twisting and pulling the senses in every direction whilst its overall presence rubs its serpentine sonic salt into the already opened wounds from its predecessor. The vocals rasp and strip the air of any safety whilst the sounds and beats consume with rabid intensity and spite.

The album continues to show no mercy on its victims but does pull back on the oppressive assault with Machine Says No, though it is only for its opening breath. Into its full rampage the track is like a fetid brewing storm devouring every pore, its energy a burning touch to leave further scars of delight. The album like the track is a raging fire of noise and demonic passion which gives equal pain and greedy content.

Through the likes of the sonic bleed that is The Pit and the corrosive instrumental Gibbet, the release explores and unleashes further devastating soundscapes of misery, malcontent and gratification. With acidulous grooves and even stronger ruinous energies the album is not an easy listen at times and one which many will fall before by the time the release is only getting into its stride, but it is so rewarding if one survives its immoral spoils.

With the early Killing Joke/Ministry like Scab and the treacherous melodic seduction of Hive continuing the staggering heights of the opening pair of tracks, the album ignites only deep satisfaction. Every track on Floodlights is staggering and though some steal the highest platforms of acclaim, as a whole the album is a white hot scorching grazing to revel in, and a sonic storm which shows TheDevilzWork as a band where no sound or emotion is off limits to deconstruct and twist to their own sadistic intent.

RingMaster 03/09/2012

Copyright RingMaster: MyFreeCopyright

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.