Der Prosector – Egregious EP

Examining every inch of the senses and psyche as it throws you round the dance-floor is the Egregious EP, the debut release from UK/US industrial cyberpunks Der Prosector. Unleashed through UK indie label Armalyte Industries, the infestation of sound and emotional irritation is a ravenous often rabid tempest of industrial punk sure to instil a real hunger for more in a great many.

Almondbury hailing Der Prosector consists of Ged Denton (Cyber-tec Project), Digby Denton (Frogs of War), Jules Seifert (The Sepia), and Neil Hester (Downcast, The Sepia). Together the quartet dive head first into the tempestuous explorations of themes such as “sex and death, ever eroding freedoms, wilful mind control and the continued brutalization of the innocent” within Egregious, conjuring sounds and sonic trespasses to match the intensity of word and emotion. It pulls no punches from its first breath, each track an abrasing and bracing confrontation withering the senses as it incites feet and body to rampage.

The EP starts up with Sun Dogs, its initial atmospheric coaxing already fraught with threat and intrigue which only escalates as the track rises up with infection fuelled lures and flirtatious rhythms. As the vocals of Ged Denton spring their attitude lined invitation, synths and guitar weave an invasively catchy web as beats thump with matching contagion. At times like a raw fusion of Prong and Rabbit Junk, the song continues to impose and incite as it devours body and spirit.

Strangled brings a new visceral air and tone next up, its prowling beats and stalking sonic probing an interrogation with its own compelling contagion. Second by second, its touch and breath intensifies, its irritancy breeding greater enmity yet it never lessens its infectious persuasion on hips and spirit. There is a touch of Pitchshifter to its punk causticity which is even more pronounced within the following virus of The Instrument though it is fair to say that the song and its companions are all firmly stamped Der Prosector. The third track stomps around with exasperation; vex soaking every note and syllable as its industrial punk exploits brews a maelstrom of creative enmity before the inescapably addictive Subject 7 imposes its specific contagion with punk bred, industrial brewed enterprise and threat.

The rapacious energy and unbridled catchiness of MotherHack, a track which bubbles with lava-esque determination, brings things to a mighty conclusion though the digital release of Egregious comes with the treat of three remixes of Sun Dogs; each of the 2Bit Heroes edit, DigitalMetal mix, and Sere Remix revealing distinctly individual alter egos of the song to complete the pleasure and fascination nurtured by the EP.

Though each of its members has experienced acclaim and success with their previous projects, Der Prosector is a whole new ball game which the Egregious EP suggests has the potential to out do anything before.

The Egregious EP is out now through Armalyte Industries and available @ https://armalyte.bandcamp.com/album/der-prosector-egregious-ep digitally and on Ltd Ed blood splattered vinyl.

https://www.derprosector.com/     https://www.facebook.com/derprosector

Pete RingMaster 24/10/2017

Copyright RingMaster: MyFreeCopyright

Das Fluff – Flower With Knife

When checking out a mere week or two ago the band’s latest single, Far Gone, we suggested the forthcoming new album from Das Fluff “should be very highly anticipated”, as too for newcomers the source of the single, their current and third full-length which recently had its vinyl release. At the time it was still an unrealised pleasure for us but now having heard and devoured Flower With Knife, we can say that intrigue and hunger is now greedily lying in wait for that new album currently being created.

Das Fluff is the brainchild and creative vehicle of Berlin/London-based vocalist/writer/producer Dawn Lintern. The project’s first two albums, in 2011 debut Would You Die for Me? and Meditation And Violence two years later potently built the reputation for highly danceable and inventively dramatic propositions with songs never accepting the predictable. Fair to say though it was Flower With Knife which saw Lintern’s writing and sound blossom into an invigorating trespass infesting body and imagination like a lustful virus. Linking up with guitarist Steve May, and the electronic experimentation of Christian Ruland, Lintern brought the richest drama and deepest tapestry of sound to the Das Fluff psyche; the result a release which plays like an aural psychological movie whilst grabbing the listener like a puppet forcing feet and hips to indulge.

Flower With Knife opens up with Popstar User, a track featuring a different guest guitarist as too upcoming album songs in Nothing and Pleasure, which prowls ears with seductive menace as Lintern vocally pouts and entices. The throbbing bassy electronics similarly tempt as synths simmer and flame as the guitar spins its own inviting web. It all colludes in a riveting slice of electronic rock providing the perfect doorway into the following shadow clad, noir lit, and creatively mercurial adventures.

The furtive gothic/post punk walk of Fuck The Trees swiftly has its grips on attention and thoughts next, Lintern purveying the raping of beauty by the intent of modern thought and deed. The pulse of the song is accusation, its gait almost predatory before Someone I Adore outdoes both the first pair of tracks with its striking electro punk saunter. Again there is menace in the air, an Au Pairs meets Siouxsie and the Banshees scent tempering yet equally adding to that confrontation within the senses arousing treat.

In turn it is then eclipsed by Pleasure with its gorgeous Slits meets again Au Pairs like dub lit temptation. Within moments the hips of song and listener are swaying in unison, thought locked up in the provocative turns of voice and word as music infuses its own inventive dance into ears and appetite. More than living up to its name, the track is the pinnacle of the album’s theatre but closely matched around it and indeed by that recent single Far Gone. Almost unnerving in its psychosis fuelled canter, bass tones and scything key bred strings cinematically Hitchcock like, it is the driving rhythms and intensity of the song which brings it all gloriously together for another mighty incitement.

Through the mellower but just as dark and rapacious Enemy, a song tempering its threat with open reflection and emotion, and the hauntingly enchanting jazz kissed beauty of The Stars, the album’s adventure evolves and turns down new avenues again. As the tracks before them, each is a new adventure to sink into, all connected by shadow clad risk and perilous influences. Both songs beguile with the second especially bewitching, while the grittier growl of Love and Peace snarls and intensely throbs like a predacious temptress bred from the thickest tempest.

Throughout Lintern’s voice magnetises as it reveals an array of depths and expressions, her bold and magnetic tones seeded in the similarly adventurous writing at the heart of songs and the trio’s creative imagination as epitomised in the heavier rock of Nothing, a track embracing a host of styles to its melodic and electronic bosom. It simmers and boils with energy and emotion second by second, Lintern the vocal ringmaster within shaping song and thoughts breath by syllable.

The album concludes with the electronic asylum of Strip Down, a proposal which harries thoughts with dark flirtations and sinister airs as pulses and melodies suggestively invade and swim the senses. The track is pure drama, an irresistible fire of emotion and intensity borne of daring imagination…and that pretty much sums up Flower With Knife as a whole; a release which stretches the listener as much as itself as a kind of psychosis hugs its heart. Most of all, it is a release which has the body bouncing and pleasure brimming…roll on the next album.

Flower With Knife is out now and available through the Das Fluff website @ http://www.dasfluff.com

https://www.facebook.com/dasfluff/     https://twitter.com/DasFluffTwit

Pete RingMaster 23/09/2017

Copyright RingMaster: MyFreeCopyright

King Satan – King Fucking Satan

mde

In a world bent on self-destruction from the intimacy of relationships through to the broader intolerance of religion and the greed of those governing it up front and behind the scenes, never has there been a more suitable and insidiously compelling soundtrack to it all than the new album from King Satan. Recently released by the  Finnish outfit, King Fucking Satan is a ten track devouring of the senses and an insatiable trespass of the psyche as flirtatious and contagious as it is emotionally pestilential.

Originally a solo project for vocalist, multi-instrumentalist, and producer King Aleister Satan (aka fra. Zetekh, the frontman of Saturnian Mist) when it emerged in 2015, the band has subsequently expanded due to live show demands with Kate Boss (vocals, synths, piano), John Oscar Dee (guitars, bass), Martin Shemhamforash (synths, bass), and Magister Demaniac (beats, additional instruments, programming) completing the current line-up. Musically King Satan creates and fester a senses consuming, body inciting fusion of black and death metal with dark electro, EBM, aggrotech and more besides whilst lyrically and emotionally, nothing is left out from being invaded and violated; the album exploring themes “found within occult philosophy, psychological mind-fuck and even sociological satire hand in hand with renegade rock ’n’ roll spirit that surely bows to nothing and no one!”

Dance With the Devil pretty much sums up the experience of listening to the album as well as providing the title for its opener. As a dark atmosphere crowds around ears, a vocal trigger brings hungry beats and synth cast temptation upon the senses. Equally predacious and alluring, with increasing addictiveness and virulence as melodies and hooks play, King Aleister Satan’s vocal trespass bullies and harries, every syllable explored and sharing primal instruction. Like a mix of God Destruction, Skinny Puppy, and label mates Barathrum, the track infests and incites, its infectiousness and inviting hooks as loaded with viciousness as its boldly direct animosity.

It is a great manipulative start soon matched and overshadowed by As Above So Below, a song managing to be even more primordial and catchy as nagging rhythms pound and synths cast their toxic melodies and hooks; an infectious trait matched in the swing of the punk/black metal scarred vocals. Within moments bodies are bouncing and hips swinging, something we have seen in close attention, as thoughts are twisted and stretched by the corrosive vocal and lyrical intrusion. Addiction appears inevitable so be warned as indeed in regard to Enter Black Fire which though not quite having the body as firmly in its puppeteer grip keeps things feverishly pulsing as thoughts are taken on a tour of ascending oppressive power and its escape.

Psygnosis has everything lustfully involved and enslaved next too, its musical psychosis the fuel for more unstoppable infectiousness and lyrical humour honed drama. Physically exhaustive and imaginatively tenacious refusing to leave the listener alone with its creative bordering psychotic enterprise, the track is superb, a new major highlight though instantly eclipsed by Sex Magick. Stomping over the senses with every beat a haymaker and each synth nurtured sortie of ears a rebelliously sexual coaxing, the outstanding track grows into a relentless and licentious tide of industrial/ EBM contamination adding J-Pop like ingenuity with the vocals of Boss glorious and a devilry akin to something Mindless Self Indulgence might expel.

The predatory instincts of Satanized course ears next, its infectious electro canter a bold niggling of the senses around the raw air and tone of vocals and word before Of Internal, Eternal & Spiritual War, with its haunting Cimmerian crawl through an ominous atmosphere woven around darkly whispered vocals and harmonic siren cries, envelops the senses.

Recalcitrant causticity gets its head in the electro punk epidemic of Spiritual Anarchy straight after; defiance and vocal antagonism a potent contrast to the quenchless dance and devious endeavour of synths and guitars while Destroy the World is a calmer but cancerous embrace of the senses. Suggestive melodies vein an invasive smog of sound and intent which dowses the listener in emotional and sonic malignancy.

The album closes with a similarly toxic climate and reflection, though Kali Yuga Algorithm has a thicker sinuous texture to its layers and black industrial, rancor coated wake-up call. The track leaves a lingering imprint on the senses as pretty much all within King Fucking Satan, a release which enthrals on the verge of rapture and provokes to the point of brutality for seriously one of the most rousing and enjoyable stomps this year so far.

King Fucking Satan is out now via Saturnal Records and available @ https://saturnalrecs.bandcamp.com/album/king-fucking-satan

http://www.kingsatan.net/    https://www.facebook.com/kingsatan616/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Freak Injection – Freak Is Fashion

Unleashing in the words of its press release, “Blood, Sex and Psycho!” the Freak Is Fashion EP is quite simply a temptation rather hard not to get down and sweaty with. It is a new slice of devilment from French industrial/electro rockers Freak Injection, a rousing four track escapade fusing the familiar and the fresh in a roar sure to inspire the freak in us all.

It is fair to say that big surprises are not as prevalent within Freak Is Fashion as flavours which tempt like old friends yet the Paris hailing quartet create an aural captivation and physical incitement many unique offerings can only dream of. Inspiration to Freak Injection comes from the likes of the Prodigy, Nine Inch Nails, Nina Hagen, Madonna, and Marilyn Manson, though Freak Is Fashion leaps upon the listener more like an insatiable fusion of Animal Alpha, Die So Fluid, and The Guilt with Kontrust like lunacy leading and fuelling it all.

With the raw essences of metal and punk colluding with electro and industrial revelry, the Freak Injection sound needs little time to infest ears and psyche as EP opener and title track reveals. As soon as its initial electro spiral is joined by distortion kissed vocal coaxing, there is no r escaping the song’s devilry and rebellious intent. Within a breath rhythms are pounding upon the senses like migraine, riffs simultaneously harrying them with their dirty tone as hooks and electronic bait are unleashed with insatiable intent. The vocals of Charlie RED just as swiftly get a hold of ears, her infectious guile and mischief accompanied by the melodic teasing of guitarist MAC-F as Kevin Hapexia’s bass heavily prowls. Continuing to probe with the swinging beats of Anthony bordering on the psychotic at times, the track makes a riveting and body rousing trespass to kick things off, its schizophrenic character increasingly unveiled as its bounds along.

The following Sex Me is an instantly panting arousal of sound and creative intrigue, its introduction a slower, more controlled yet insatiable proposal with instinctive seduction lining every note, beat, and vocal taunting. With an increasing swagger, riffs grow in weight and rhythms in impact but equally so too does an unpredictable web of twists and deceitful turns never going quite where you expect and greatly pleasing because of it. Again it is hard to say that the song is truly unique, certainly not across its whole body yet there are only fresh and enthralling times in its midst. It is qualities equally found within successor Crosses, a meaty stomping of electro pop ‘n’ roll which has the body bouncing,  hips swerving, and vocal chords induced within its first anthemic roar. Charlie is again a beacon within a blaze of tenacious captivation naturally fitting and sparking rock ‘n’ roll instincts.

The release is completed by Psycho (Russian Boy), an emboldened motivation of sound which arguably fits expectations of the tags given to the band’s sound more than most but brews volatility in its rock ‘n’ roll which just detonates in ears. It is a high-voltage end to a creatively bustling and animated, not forgetting fervour driven, rampage that the inner freak just cannot refuse.

Freak Is Fashion is out now.

https://www.facebook.com/Freakinjectionmusic/    https://twitter.com/Freak_Injection

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

The Guilt – Self Titled

Here to give your senses an abrasively bracing blasting and the body an irresistible work out is the debut self-titled album from Swedish duo The Guilt, a band which just might be the most exciting thing to happen to punk rock in recent times. Musically the pair of vocalist Emma and guitarist/beat caster Tobias create something angry and seductive from styles bred from electro punk to heavy rock and any flavour of rock ‘n’ roll your ears desire, or as they call it, laserpunk. Bottom line though is that The Guilt creates instinctive punk rock to rouse the spirit and assault the world in one of the year’s biggest treats so far.

The Guilt emerged in Helsingborg 2012, Emma and Tobias making a fresh musical start after the death of an old friend. Initially the pair used an iPod for synths and beats rather than replace the drummer before turning to a Roland synthesizer resulting in the fine mix assaulting the listener from within their first album. 2015 saw the release of their maiden EP on Heptown Records, who now release the album, with another outing for it last year through Suicide Records. It was a nudge on attention now being followed by a mighty slap courtesy of, as already suggested, one of the essential moments of 2017.

An electronic squiggle draws ears to the waiting clutches of opener Cunty Mess, the song swiftly taking advantage of intrigue with its scuzzy riffs and wandering groove. Once the voice of Emma saunters in, defiance reeking from every breath and syllable, the song just comes alive. Tobias conjures a web of hooks and unpredictability as a gnarly bass grabs its piece of an already lusty appetite for the track’s punk ‘n’ roll. Bouncing with catchy enterprise across its body but especially a pop infested chorus, the song seduces within its first spirit inciting roar.

The following Hate Hate Hate is swifter to unveil its antagonistic attitude, guitar and synth colluding in devious coaxing before Tobias unleashes a deliciously nagging groove as Emma stands hollering, irritation fuelling her presence and attack. She almost prowls song and listener, building her zeal loaded rage for the rapacious chorus; the sounds around her just as dynamic and predacious. Yet there is virulence to the repetitive groove and tenacious beats which has limbs and body as involved as energy and thoughts, dancing and rioting united in one song, though pretty much all the tracks within the album spark matching reactions.

I Don’t Care follows with its dose of crabby rock ‘n’ roll, the track simply punk rock to its core. Like L7 meets Midnight Mob, the song strolls along with a militant air; its middle finger raised under the defiance stoking shout of Emma and driven by the equally ferocious sounds of Tobias. The track is superb, maybe even eclipsing its predecessors before I Just Know It has feet and hips bouncing to its electro pop punk antics. With a touch of The Objex to it when it snarls and a whiff of The Knife in its calmer electronic shuffle, the song epitomises the band’s ability at fusing danceable pop and threat loaded punk rock if showing more restraint of its aggression than those tracks before it.

Having your senses crawled over; imagination fingered does not come much more potent or enjoyable than the start of Bad Things. It infests ears with its dark deeds and growling textures, the Roland popping away with its electronic spots to highlight rather than temper the irritated heart of the track; a union only blossoming to bigger exploits as the song boils over in another anthemic chorus surrounded by enjoyably corrosive flames.

The stunning Anomlays is next; the band’s latest single an incendiary eruption of punk and pop sounding like Animal Alpha leading Morningwood into a pit of hellacious body corrupting toxicity. One of the highest pinnacles in nothing but across the album, its success is closely matched by It’s Not Me It’s You. A little like Blood Red Shoes given a hefty dose of animosity but again emerging as something unmistakably unique to The Guilt, the song swings and grooves while spreading venomous fun and ravishing attitude; electro pop and punk has never sounded so delicious together.

That is another key thing about the album; for all the references we suggest or others different people may offer, The Guilt has a sound which stands alongside no-one. Its voice, imagination, and character is one of the most original around right now yet feels like a friend from its first hungry touch. Next up When The Honey Comes is proof, the track swaggering through ears with another grimace to its tone but is as quickly springing infectious flavours and hip provoking exploits as guitar and bass niggle away with their great persistence.

The release is brought to a fiery close with firstly the cantankerous stomp of Give It and lastly the psychotic hop of Ovaries. Both tracks leave exhaustion and instinctive pleasure in their wake, the first with its primal punk ‘n’ roll and its successor with its electro punk revelry though even with its kinetic web of sound and contagious consuming of the body there is something inescapably predatory to the album’s thrilling conclusion.

The Guilt is beginning to catch and excite new ears and passions in droves, their album shows exactly. It assaults, infests, demands, and rewards in equal measure; most of all it gives music and its fans the kind of fun time and rebellious streak it has arguably been missing lately. We say let their album be your next port of call and as for us, they just might be your new favourite, probably obsessive passion.

The Guilt album is out May 5th through Heptown Records.

http://www.theguilt.se/    https://www.facebook.com/theguiltsweden/    https://theguiltswe.bandcamp.com/

Pete RingMaster 05/05/2017

Copyright RingMaster: MyFreeCopyright

Calling All Astronauts – Life As We Know It

lawki_RingMasterReview

With their second album still drawing wide acclaim, British electro punks Calling All Astronauts ensured 2016 left in fine style with Life As We Know It. Their ninth single and taken from Anti-Social Network, the song is more enticing evidence to the variety in the band’s sound and their ability to get the body grooving as eagerly as the spirit devours their rousing sounds.

Backed by three remixes of the single, the proposition is more an EP than single and a fine end to another increasingly successful year for the London based trio of vocalist/keyboardist/programmer David B, guitarist JJ Browning, and bassist Paul McCrudden. Earlier single Empire reached the No.2 spot on the Official European Indie Chart while the band twice hit top spot in the Hype Machine Twitter Chart, success capped by CAA headlining the Bandstand Stage on the final night of Beautiful Days Festival.

Released on Supersonic Media, Life As We Know It is an encounter hard for hips and the imagination to resist. It is a warmer, mellower affair compared to the band’s usually eclectic but attitude loaded sound; irresistibly catchy with a nostalgic air bringing thoughts of bands like The The and B-Movie whilst being distinctly CAA. Few bands create a sound truly unique to themselves but the threesome persistently achieves that while still pushing their creative boundaries. With suggestive melodies colluding with punchy beats and David B’s uniquely captivating tones, the song is an offensive of melodic charm and funk spiced basslines wrapped in tempting guitar and caressing keys, all fuelled by a contagion which as suggested has feet and bodies at its mercy; manna for any dance-floor.

The remixes bring bold new shades to the song with the Daak Sun Remix especially striking. Darker bordering on sinister as it rumbles in sound and atmosphere, the track is a far more physical proposal which if anything has the body and imagination even more frenetically involved.

Surrounding it the Naked Highway Remix is a fuzzy stroll under a spatial sky, its bassline earthily scuzzy as keys radiate a cosmic revelry while the Malandrino Remix is a seductive sunset, intimately exotic as keys dance evocatively through ears to the bouncy beat of the rhythms like a tropical Thompson Twins.

Together they all add up to another richly enjoyable outing with Calling All Astronauts with the original slice of Life As We Know It further evidence of a band deserving the keenest attention.

Life As We Know It is out now through Supersonic Media across most online stores.

http://www.callingallastronauts.com    https://www.facebook.com/CallingAllAstronauts/     https://twitter.com/CAA_Official    https://callingallastronauts1.bandcamp.com/

Pete RingMaster 11/01/2017

Copyright RingMaster: MyFreeCopyright

Ventenner – Invidia

Ensuring 2017 gets off to a powerful start, UK’s Ventenner are poised to release their new album; an encounter which from start to finish rapaciously devours ears and imagination. Increasingly irresistible with every passing slice of alternative metal, rock, and industrially infused electronic involvement, Invidia is the natural yet inventively bold offspring of the band’s previous successes across. When giving us the heads up last year about the forthcoming encounter, band founder Charlie Dawe (vocals/synth) suggested that “This one is set to be a lot heavier, more powerful and a superior record!” It needs little time and barely one listen to confirm his hopes and assessment are right on the money.

Variety and imagination has never been lacking in the Ventenner sound as evidenced by previous albums This Is The Reason of 2012 and the acclaimed Distorture two years later. Power and forceful enterprise has never been absent in the band’s music either since emerging initially as a solo project for Dawe in 2007. Ventenner’s last album alone was an encounter leaving “the senses beleaguered and imagination ablaze from start to finish”, its emotionally raw dystopian soundscapes seductive and compelling but indeed Invidia while embracing similar qualities taps into an almost primal yet involved intensity and abrasive energy which consumes the listener.

Produced by Esoteric vocalist/guitarist Greg Chandler, Invidia also unveils the most intricate tapestries of sound from the London based outfit yet starting with opener The Start Is The End. A synth resonates in ears first, it’s coaxing swiftly joined by the prowling tones of Dawe with restrained but striking rhythms alongside. As riffs and hooks bring their invention to the mix, the song breeds a Nine Inch Nails scented predation; exotic hues lining an emerging melodic suggestiveness within a controlled yet tempestuous proposal. Throughout, the song’s character is intrusive and raw yet magnetically infectious, traits blossoming throughout the album.

cover-art_RingMasterReviewBreak In Two reinforces the release’s impressive start, its resourceful entrance calmer yet just as instinctively invasive as its predecessor’s as a Gravity Kills meets Celldweller air grows and colludes with Ventenner’s openly distinct imagination. A gorgeous melodic hook caps off a mighty temptation, its prowess and potency matched by the sinister charm and emotive fire of next up Saligia. Almost devious in its weave of flirtatious melodies and sonic causticity, the song is pure addiction as industrial metal and electro punk merge for a hauntingly irritable raid on the senses.

A superb and masterfully woven conflict of textures makes up Enemy next, an outpouring of beauty and the beast sound and creativity lined not for the first or last time within Invidia by a Pitchshifter like essence while next up Be Still brings fresh crabbiness to ears as Ventenner again confirm their expertise at aligning melodic elegance and bordering on hostile emotional and musical tetchiness.

The former of the essences is embraced primarily by the bewitching Only The Empty Remain, though it too has a disgruntled undercurrent which erupts throughout before Circle while carrying a touch of Society One to itself, roars commandingly, making its mere two minutes another of the most powerful and essential moments within Invidia.

Dividing Seed just as enjoyably hits the spot, its web of guitar and synth intrusiveness as disarmingly seductive as it is cholerically bracing; essences further inventively twisted by successor Bruxism. A bear of a song with bone shuddering beats and senses binding vines of sonic invention around the emotional challenge of Dawe’s vocals and words, the track is sheer power but tempered by the disarming flow of melodic grace and harmonic beauty which breaks through the October File spiced tempest.

A predatory air is cast by Anamnesis, a trespass captivatingly countered by the reflective melodies and warm textures blossoming in voice and sound. Like two souls in dispute yet eager union, the track adds to the pinnacles of the release before being instantly matched by the imagination gripping landscape of closing track Omega. Its melancholic beauty immerses ears and thoughts in a haunting almost spatial flight accentuated by Dawe’s transfixing tones in a temptation which alone urges a swift return to the roar of the album.

Distorture impressed two years ago but has been easily eclipsed by Invidia, already one of this year’s important highlights. In many ways the Ventenner sound has come of age yet it is easy to still feel there is plenty more for they and us to discover.

Invidia is released via Hibernacula Records 20th January on CD and also digitally and on vinyl through http://www.ventenner.com/store

http://www.ventenner.com/

https://twitter.com/ventenner   https://www.facebook.com/Ventenner/

Pete RingMaster 10/01/2017

Copyright RingMaster: MyFreeCopyright