Eat Dirt – Death Is Death

Emerging in 2016, it is fair to say that UK punks Eat Dirt had us fully aroused within a year through their uncompromising exploits within a self-titled debut EP. Annoyingly a subsequent EP managed to evade us but now the band’s first album has descended on our radar and once more their particular riot, defiance, and anger has us fired up.

Death Is Death is an uncompromising roar of dissent fuelled hardcore lined punk rock; an angry trespass bursting with the frustration and ire not forgetting punk goodness which marked that first encounter with Eat Dirt. Yet it has its own character of sound and flavour, one the band admits is inspired by the “Epitaph Records 1990s roster and the Tony Hawks Pro Skater soundtrack.” Across its fourteen swift assaults on ears and its predominant themes of death, the album bites and incites as it violently stirs and infectiously arouses; numerous textures and styles keenly embraced in its punk bred ferocity. It makes for a release which is quickly recognisably Eat Dirt but with an element of unpredictability which keeps you on your toes and the band as one of British punk’s compelling protagonists.

With only a few of its tracks reaching the two minute mark, Death Is Death swooped by in no time but provided twenty five minutes or so of undiluted vitriolic pleasure starting with opener Make Peace.  Instantly a crazed infection loaded hook gripped ears with rhythms soon bitch slapping the senses as vocals hollered with equally contagious enterprise and aggression. Instantly with an Eat Dirt song you realise there are no frills involved, no tricks or deceits, just passion and aggression from a true punk heart but it does not mean they lack the cutest hooks or devious enterprise; the album’s first fury soaked incursion outstanding proof.

Almost before the listener can take a second breath, the brilliant starter shoots off and Worms Of The Earth bursts in. Its machine gun rally of rhythms splintering bone as guitars wire their incendiary intent around the fragments; the song quickly unleashing its own feral demands and ferocity. A whiff of Gallows and early Bronx infests the tempest, manipulative antics just as prevalent as the assault rivals its predecessor in firing up its victim before the multi-flavoured Come And See steps forward to tease with a lone guitar lure. Appetite for its coaxing is soon rewarded by a senses stalking wall of sound and vocal causticity, the track continuing to hound ears rather than savage them to fine effect.

Moribund swings its fists next but every raging blow is wrapped in melodic almost pop punk incited catchiness while the album’s title track revs up its engines to prowl and ravage ears with its punk metal/hardcore inflamed hostility straight after. Anthemic in its rancour and inventively crafted hook equipped design, there was no escaping breeding a lusty appetite, one just as easily held by the following pair of Punk Rock Con and Dog. The first is a punk ‘n’ roll assail of riffs and rhythms, each as barbarous as the next as they stirred up emotions and participation while its successor picked at the remains left by the first with rapacious rhythmic teeth and sonic toxicity around vocal dissonance, melody nurtured hooks only accentuating the reed sparking punishment.

The opening rhythmic shuffle of Night Terrors quickly foraged under the skin as the album continued to impress, the song swiftly building on its infestation with its virulent swing and punk clamour; The Beast emulating its prowess with its own contagion loaded collusion of punk and rock ‘n’ roll exploits before Bones uncaged scars and venom within its similarly involving punk contamination. All three left greed for more in their wake even if maybe they did not quite inflame the senses as numerous predecessors within Death Is Death.

The album’s final quartet of tracks ensured its stirring standards were just as high and potent, Out of The Fire rampaging with almost salacious hostility and emotive discord with Ballad in turn spurting tension through its creative nostrils as jarring rhythms align with harmonic lures and almost carnal enterprise.

As the physical punk ‘n’ roll carousing and vocal inciting of Spend Your Life and the cunningly infectious Pull Out brought it to a thrilling close, the final track especially irresistible, Death Is Death simply demanded and got the quick decision to go all over again. It is one of those albums which proved really hard to tear oneself away from; Eat Dirt once more proving themselves as one formidable and fiercely enjoyable lawless uproar.

Death Is Death is out June 2nd via Bearded Punk Records; available @ https://eatdirt.bigcartel.com/product/death-is-death-pre-order

 

http://www.listentoeatdirt.com   https://www.facebook.com/eatdirtpunk/

Pete RingMaster 01/06/2019

Copyright RingMaster: MyFreeCopyright

Suspects – Recovery EP

Press Shot Kana Waiwaiku

It has not taken us long to find a firm and eager appetite for the releases and sounds coming out of UK label Cool Thing Records; a hunger borne from ear grabbing releases courtesy of its owners, the outstanding Asylums, as well as those of The Horse Heads, BAIT, and Indian Queens. Now we can add Suspects to the list and a debut EP which just sizzled on the senses.

Southend-on-Sea hailing, the duo has certainly earned keen praise and support from their singles to date but now together with a fourth imagination gripping song will surely make a greater impression and impact as part of the Recovery EP. Their fervent roar is punk bred but with a garage rock inspired ferocity and grunge nurtured scuzz which simply adds to one hungry lure. Equally there is inherent catchiness to its feral rock ‘n’ roll, a mix which hints at bands such as The Sea and In The Whale but springs its own attention grabbing flaming holler.

Recorded with producer Thomas Mitchener (Frank Carter & The Rattlesnakes, Gallows, The Futureheads, Asylums), Recovery opens up with its title track. Swiftly an instinct luring melody teases from the guitar of Thomas Prescott, its elegant yet slightly raw coaxing proving irresistible as too its creator’s potent vocals which are soon in league with its temptation. It is a relatively calm but emotively alive beginning hinting of an underlying volatility that soon explodes in a tempestuous stroll driven by the bold and magnetic rhythms of James May. In full rampancy, the track is dirty yet radiant, corrosive but rousing, familiarities aligning to uniqueness as it sets inescapable persuasion on ears.

The thrilling start to the release is richly backed by next up Anaphylactic Shock, a swift and rapacious slice of sonic incitement offering one minute fourteen seconds of the most rabid and virulent punk rock likely to be heard this year. Enslavement was swift, a hunger for more just as rapid and quickly fed by Innocence. With a more controlled but no less wild gait, the track stalks ears with its senses scything beats and scuzz bearing grooves. Prescott’s vocals are just as intense and voracious let alone adventurous amongst them with Hammond toned keys adding to the song’s broad yet acute character. As the tracks around it, the song crackled on the senses and lingered in the imagination, pleasure fired up with every twist and turn.

Armageddon And Me completes the quartet of tracks, and immediately owns its moment of domination. Carnal riffs and swiping rhythms are instantly unleashed, Green Day shaded contagion just as eager as the sludge/grunge natured tonic which fired up song and spirit alike. It provides a seriously rousing and thrilling end to an EP just as tenacious and dynamic in its every breath.

In its relatively short life Cool Thing Records has already been the gateway to some rather special adventures and encounters, the Recovery EP just continues that riveting trend.

The Recovery EP is released May 31st via Cool Thing Records.

https://www.facebook.com/suspectsuk/   https://twitter.com/_wearesuspects

https://coolthingrecords.bandcamp.com

Pete RingMaster 29/05/2019

Copyright RingMaster: MyFreeCopyright

Dead By Monday – Almost Punk

Having earned a strong reputation for their live shows and energy, Scottish outfit Dead By Monday are out to spark similar praise on a broader scale with the release of debut EP, Almost Punk. Offering four slices of ferocious punk rock with an almost deceitful character as they reveal a far richer breeding of flavours once immersed in their roars, it is a release which not only warrants attention but pretty much commands it.

Formed in 2016 within the Glasgow music scene, Dead By Monday has as mentioned drawn great plaudits for their live dynamic and aggressive presence which has been rewarded with gigs alongside the likes of The Living End, Daggermouth, Annewrage, and WRCKG. Initially coming together with the intent of creating politically charged punk rock, the foursome soon found a harder, harsher, and heavier sound emerging but one still embracing their punk rock hearts alongside inspirations from the likes of Rage Against The Machine and The Dillinger Escape Plan, NOFX, and Gallows. Almost Punk is their first nationwide trespass and a very potent introduction it proved to be.

Certainly the EP was a slow burner with us, making a good first impression but really blossoming over time and listens as its creative depths emerged. The release opens with The First, and instantly had attentive ears with its simple but efficient opening punk bred riff. Paddy Chapman’s guitar is the lure, the throbbing bassline of Declan Buist a waiting trap before the song explodes into its rapacious and irritable stroll. The gruff tones of vocalist Murray Taylor are soon sharing its grievances as the swinging beats of Ciaran Whyte spark the track’s contagious gait and energy. There is little particularly unique about the track at first but with its mellower detours and sharp hooks grows into an ear grabbing proposal, those animated rhythms of Whyte particularly magnetic.

The following Dead Souls soon overshadows its predecessor, the excellent track a bruising slab of punk ‘n’ roll with a tasty line in hard rock to its twists and turns. Again Taylor’s vocals almost bully the listener as surrounding sounds work on their rocker instincts while spiky hooks and gang vocals make for an additionally tenacious incitement. Firmly the song took best track honours, though it was swiftly challenged by next up Our Doomsday. Straight away Whyte’s rolling punches had attention gripped, Buist quickly backing up the rich coaxing with its own throbbing bait. It is a magnificent start which in some small ways is followed by an anti-climax as the track opens up into its grouchy punk holler but it is a mere quibble as the track soon seduced the appetite with its snarling attack. There is something of Stiff Little Fingers to the song at times which does it no harm at all, indeed helps make it another bright spark in the growing potential and ready-made enterprise of the EP.

The closing Choke brings a post hardcore tone with its opening strains, clean vocals from Taylor strongly enticing with an underlying emotive warble well backed by the harmonic tones of Whyte. Eventually its captivation leads to the ferocious heart of the song, its hardcore instincts expelled with force and dexterity for a caustic finale. The most inventive and unpredictable track on the release it also challenges for top song honours, holding it for a while with its outstanding start and engaging imagination.

Almost Punk is an ear grabbing introduction to its creators but it is the potential and instinctive invention it carries and of which it suggests there is much more to come, that makes it more than just a great first encounter.

Almost Punk is released July 27th.

https://www.facebook.com/DeadbyMonday/

Pete RingMaster 25/07/2018

Copyright RingMaster: MyFreeCopyright

Pretty Pistol – Welcome to the Dead Club

How to describe the new EP from UK garage punks Pretty Pistol; well feral certainly fits, sonically clamorous and tenacious too but suiting it most is simply that Welcome to the Dead Club is rather damn good. Offering four virulent slices of punk fuelled noise, the release is another of the year’s special moments so far more than worth a few minutes of your time.

Formed five years after the initial chance meeting in 2010 at a Hole gig by vocalist Laura Le Rox and drummer Emma Waller, Pretty Pistol’s line-up is completed by guitarists Rich Cooper and Billy Larsen. Described as “Sitting somewhere between Gallows, Be Your Own Pet, Milk Teeth and The Kills”, a pretty suitable intimation, the South London quartet has made a potent mark on the capital’s live scene, sharing stages with the likes of Penetration, KidBrother, Drones, and Crazytown. Recorded with producer John Mitchell (Architects, Enter Shikari, You Me At Six), Welcome to the Dead Club is their inescapable jab at bigger attention, a raucous swipe not easy to see being ignored.

As opener Cry Wolf explodes on the senses, instantly there is no escaping the rapacious presence of band and song, and indeed the magnetic tones of Le Rox. Her attack is as urgent as the sounds around her with a hint of ‘desperation’ to its lilt though really it is just an earnest bred eagerness to stir things up, again just as the individual garage punk sound Pretty Pistol unleash. Riffs and rhythms collude in devious persuasion, getting under the skin as forcibly as the flying hooks and that glorious verbal trespass. There is a touch of Asylums to the track too which only adds to its virulently striking presence and to be honest if the goodness stopped right there we would still be urging attention the EPs way.

It is not an alone treat though as the following Drive Me To The Dogs quickly reveals. The gnarly stride of bass makes an immediate lure, post punk spun tendrils a swift second as the track infests ears. Its melodic and catchy chorus tempers the trespass a touch but only backing up its infectiousness before the cycle enticingly repeats. Waller’s beats land with purpose and anthemic prowess as the guitars entangle ears with sonic toxicity while Le Rox backed by one of the guys, is an insurgent siren you are not sure whether to embrace or fear.

Another appetising bassline lures Hurricane into view; its bait immediately followed by an ear worm of a hook and in turn a blast of voice and attitude. For no obvious reason but strongly we were reminded of Red Tape as the track continues to blossom in enterprise and temptation every twist and turn making a keener captivation in another rousing if too short a gem within the EP.

The release concludes with the equally compelling No Guts (This Is Glory), a web of swiping beats, belligerent bassline and devilish sonic enticement bound in the vocal carousing of Le Rox. Cannily fingering the imagination whilst heartily firing up the senses and spirit, the song completes a fiercely and irresistibly exhilarating proposition.

Living up to the band’s name, Welcome to the Dead Club is a threat lined, danger fuelled beauty and Pretty Pistol a band we expect to make a continuing if not major impact on the British punk, indeed rock scene.

Welcome to the Dead Club is out now through SaySomething Records @ https://www.prettypistol.co.uk/store/welcome-dead-club-cd

https://www.prettypistol.co.uk/    https://www.facebook.com/pg/prettypistoluk    https://www.twitter.com/prettypistoluk

Pete RingMaster 20/04/2018

Copyright RingMaster: MyFreeCopyright

Bad Solution – The War Within

BS_RingMasterReview

A handful of weeks over two years ago, British metallers Bad Solution seriously impressed with their first EP, Self Destruct. A fiery and inventive roar, it seeded a keen anticipation for the London based band’s debut album; a hunger made to wait but now rewarded with a beast of a first full-length not only confirming that early promise but pushing their sound and writing to a whole new level.

That fresh new adventure tempers the slight disappointment of four out of the album’s ten tracks coming from that first release though such their impressive and highly enjoyable impact there is never a negative hearing them again and again. Their infusion within the brand new tracks on The War Within actually brings other previously less noticeable attributes within the quartet out to join those of their newer companions to create a fully rounded and increasingly riveting proposition.

With originally an all Polish line-up, Bad Solution was formed in 2011 by guitarists Trix and Mariusz Chojnowski. By the November of that first year, British vocalist Alex Willox came in with fellow Brit Joe Patterson replacing Mariusz Burzynski on drums two years later. With the current line-up completed by original bassist Wojtek Suberlak, Bad Solution has gone from strength to strength on the UK live scene, also sharing the stage with the likes of Gallows, The Blackout, and Soulfly across numerous festivals. The release of Self Destruct in 2015 thrust the outfit into a new richness of attention which can only be eclipsed by that generated by the outstanding exploits of The War Within.

Drowning starts things off, instantly confronting ears with rapaciously wiry grooves and hard jabbing beats. It pulls back a touch soon after, relaxing into a more controlled stroll as the guitar weaves a melodic web though still the rhythmic incitement of Suberlak and Patterson brings a bite and lively tenacity. The quickly impressing vocals of Willox are potently backed by the roars of Trix as the song develops a Clawfinger like snarl, it in turn evolving into a just as enticing melody rich cry. The carousel of the song continues to turn, increasingly engaging ears and involvement with very round whilst developing a volatility which only adds to its potency.

cover_RingMasterReviewIt is an outstanding start matched by the equally boisterous and aggressive proposal of Nothing (You don’t know me). Like a fusion of Five Finger Death Punch and Bloodsimple, it is a fiery protagonist grabbing and teasing ears with its muscular and melodically seductive enterprise, Willox again a striking and impressive presence within a maelstrom of ravenous and creatively tenacious magnetism.

Demon In My Bed then follows, beckoning the imagination with its initial Middle Eastern flavoured coaxing, a hue continuing to seduce and flourish throughout the track’s beguiling tapestry of sound and flavours. Once more there is a Clawfinger-esque feel to moments within the song but as in its predecessors, the song soon shows its own individual character in sound and writing as mellow passages beget invasive groove stoked dexterity which begets revolving flames of melodic endeavour.

The melancholic caress of the piano amidst sorrowfully ethereal keys brings Self Destruct into view next, Willox laying his plaintive tones in their arms as darker hues simmer and eventually grow. Veining them are spicy tendrils of guitar and a bass snarl which just intensifies as the song eventually erupts into greater aggressiveness bringing a Papa Roach meets Spineshank air to proceedings. Trix and Chojnowski add additional creative flames with their magnetic guitar craft, the track boiling up with every passing twist and turn for an impassioned climax taking a final bite out of the senses before the calmer presence of Echoes Of The Cry steps forward. With captivating elegance to its melodies and atmosphere, Willox similarly restrained in his tone, the track smoulders and simmers but with an increasing edge which sparks thicker flames of intensity across its lively croon. Though a slow burner compared to those around it, the song simply blossoms over time to one of the album’s truly memorable moments.

The chunky invitation of The Last Lie has ears and appetite swiftly on board whilst adding another strain of refreshing flavouring to the release with its echoes of One Minute Silence. Added to the progressive, slight seventies scented journey of the encounter, it makes for a beguiling and seriously virulent persuasion though still not as addictive as the ever manipulative exploits of Desert Rock. The star of the first EP, it seems to grow with every listen even two years on. It’s also Middle Eastern seeded temptations come backed by a rhythmic incitement which has feet bouncing within seconds. As infectious as they are though, they carry an aggressive bent which strikes almost venomously, the snarling bass matching that ferocity as those early evocative melodies continue to seduce around the addiction stoking chorus. Every band has a track which seals the deal with fans more than any other; this is Bad Solution’s and then some.

The swinging stroll of Dear Sarah follows, a flirtatious affair grabbing feet and hips with its first breath as the imagination comes under the magnetism of tangy sonic tendrils and the vocal prowess of Willox. A fusion of alternative metal and hard rock, the song is as rugged as it is graceful ensuring that the album only increases its grip on ears and pleasure; a hold tightened further by the classic/blues rock hued FOD. A fire of sound and intensity equipped with its own contagious kindling, there is no escaping its creative drama.

The War Within is completed by the equally inflamed White Washed, a track with irritability in its veins and a melodic rapacity in its heart. Suberlak’s bass is a delicious grumble within the flames, though not given enough clarity to groan for personal tastes, whilst Patterson masterfully scythes across the hungry tide of riffs and resourceful web of grooves cast by Chojnowski and Trix.

Though maybe not as impacting as those before it, the track is a fine end to a greed inspiring album. Two years back, the Self Destruct EP suggested Bad Solution were knocking on the door of major recognition. Its opening surprisingly never quite came but no worries, the quintet have just kicked it down with The War Within.

The War Within is available now from most online stores.

https://www.facebook.com/badsolution    https://twitter.com/bad_solution

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Eat Dirt – Self Titled EP

Punk rock has lost much of the anger it first set sail with back in ’77; certainly it is not as audible or open with modern bands seemingly worried more about, dare we say,  accomplished traits in their sound than their inspiring and rousing ire driven counterparts of yesteryear. One exception though is ‘Pissed Off Punk Rock Collective’ Eat Dirt, an outfit which has unleashed one of the irritable treats of the year in the shape of a self-titled debut EP. It is raw and uncompromising, belligerent and angry offering bringing a quartet of raging roars which yes are also skilfully crafted.

Forming in late 2016, Eat Dirt is the coming together of members of previously of well-established UK acts, putting “their frustrations with real life together.” From within its mysterious ranks, one of the band has admitted, “I’d given up on music. I wasn’t really angry enough. I had nothing to sing about anymore. Then the whole Brexit thing happened. I’m mad at people. I’m mad at the world around me. As a group, we need to vent. EAT DIRT is that release.

With inspirations drawn from the likes of The Bronx, Every Time I Die, Gallows, and Comeback Kid, Eat Dirt get right down to business with the EP’s thirty odd seconds title track. Instantly a wall of riffs and rhythms descend on ears, vocal scowling in their tow before a raucous stroll is in place. The unrelenting caustic attack is tempered by mellower backing vocals, their child nurtured ganging up as infectious as the brief but still eventful, hook lined proposal.

The great start is matched by the antagonistic prowl of Pigs. A call to arms littered with its own irresistible punk hooks, many old school bred, the track snarls and vents within an equally rousing web of guitars and rhythmic incitement. There are no frills, no unnecessary detours, just raging rock ‘n’ roll making its forceful point but with the imagination to leave ears hooked and spirits aroused.

48. follows swiftly after, the song badgering fifty seconds of fury and furious hardcore punk rock like a mix of Angelic Upstarts and Sick Of It All to again ignite the instincts and passions before Dead brings it all to a close with its contagious escapade. Almost flirtatious in comparison to its companions, the track has an anthemic catchiness and vocalised swing further continued in its hooks and swagger. There is no escaping bouncing bodies and swerving hips breaking out to its roar or a rising irritability with life alongside its own biting incite.

The track is a glorious end to a release which has the passions for not only punk rock but music itself alive and ready to snarl. The Eat Dirt EP is a defiance driven punk fuelled treat which we truly hope is just the first of many from its creators.

The Eat Dirt EP is available now as a free download @ https://eatdirtuk.bandcamp.com/releases

https://www.facebook.com/eatdirtpunk/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Ninjaspy – Spüken

It is fair to say that Spüken, the new album from Canadian metallers Ninjaspy has been a long time in the making. With its ten tracks spanning a decade and its recording beginning late 2014, the band’s second full-length has had time and attention given its creation and character; it all reflected and more in its thoroughly enjoyable and imaginatively dynamic adventure.

Consisting of a trio of blood brothers in vocalist/guitarist Joel, bassist Tim, and drummer Adam Parent, Ninjaspy has honed a fusion of groove infested metal, reggae, and other heavy natured flavours which now roar mightily within Spüken. It is a web of sound which grabbed attention in the Vancouver threesome’s 2007 debut album Pi Nature and even more so in the following EP, No Kata six years later. Their new offering is the natural and lofty evolution of these earlier successes; a release weaving occasionally familiar but always unpredictable proposals which tease, flirt with, and persistently arouse the senses and imagination.

Linking up once more with producers GGGarth Richardson (Rage Against the Machine, Red Hot Chili Peppers, Mudvayne, Gallows) and Ben Kaplan (Biffy Clyro, Atreyu, Haste the Day), Ninjaspy gets the album under way with the single Speak, a track certainly sparking anticipation of Spüken with its release last August. Its relatively low key Australasian entrance cored by an emerging bait loaded groove soon leaps into a smouldering swinging stroll with more than an air of Dog Fashion Disco meets Faith No More to it. Subsequent raw outbursts come loaded with ferocity and zeal, trespassing with the same catchiness as the song’s mellower teasing where rhythms dance and the bass grumbles.

It is a stirring start swiftly eclipsed by Shuriken Dance. It too shows restraint in its initial coaxing, melodic twang and rumbling rhythms colluding in an understated but bold tempting before a web of sonic and creative espionage binds ears and appetite. A punk roar escapes the throat of Joel, his aggression matched by the punching beats of Adam and both tempered by the melodic exploits of guitar. Their calm is as deceptive as the raw touch they temper, each beckoning ears into a waiting System Of A Down-esque bedlam of psychotic sound and invention. The track is pure virulent infectiousness, drawing body and voice into union with its own twisted exploits.

The following Brother Man warmly grabs ears next like a collusion of Ruts and 12 Stone Toddler; its stalking groove and melodic coaxing a delicious mix soon embracing a reggae and metal induced tempest in turn proceeding to entangle all earlier aspects within its similarly and seriously catchy landscape. The further into its depths the more deranged twists show their voracious enticements as too mellower melodic but no less certifiable essences. Thorough captivation, it is more than matched in aberrant adventure by Dead Duck Dock. The song also follows those before it by making a relatively gentle melody woven entrance but also one soon showing argumentative discord in sound and intensity as its groove metal instincts rise. With hues of Slipknot and Society 1 to its growl, the song is a roar of creative irritability and intrigue never resting for long in one flavour or mood.

The outstanding Become Nothing is a loco romp revelling in a sound and imagination something akin to again SOAD  this time in league with Kontrust while What!! infests ears and satisfaction with a Skindred/American Head Charge scented escapade though as every reference used as a hint, it is a potent hue in a Ninjaspy bred roar.

The sweltering infection fuelled funk of Jump Ya Bones soon spins its own particular tapestry of rich flavours and various styles as it flirtatiously bounds through ears before Grip the Cage provides a more even tempered shuffle though it too expels moments of incendiary emotion and energy. They both equally push the diversity of the album and songs, that ten years of writing and maturing giving birth to Spüken skilfully shaping their varied designs.

The melody rich and increasingly agitated Azaria stretches that variety yet again, the song deceptively straight forward initially, luring ears into its own expectation defeating maze before Slave Vehemence brings it all to a thrilling close with a cauldron of capricious invention and impulsive ideation wrong-footing and exciting ears at every turn.

It is a fine end to an increasingly pleasing album unveiling new nuances and moments with every listen even after double figure plays. It is a release sure to harass global attention the way of Ninjaspy but more so leave new legion of fans lusting for their sound and presence.

Spüken is released April 14th

http://www.ninjaspy.net/    https://www.facebook.com/ninjaspy/    https://twitter.com/ninjaspy

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright