The Cavemen – Too High To Die/I’d Kill


It has been a busy year for New Zealanders The Cavemen from just releases alone. April saw the unleashing of their exceptional self-titled debut album followed in June by the just as rousing and wonderfully arrogant two track single Juvenile Delinquent. Now the quartet of vocalist Paul, guitarist Jack, bassist Nick, and drummer Jake Caveman have freed new offering Too High To Die/I’d Kill ahead of yet another album; the single two slices of the band’s distinctive garage bred punk ‘n’ roll which is impossible not to get lustfully off on.

Now UK based, The Cavemen have arguably unearthed their most primal and trashiest sound for their new single; breeding both tracks with the kind of punk rock which has ignited and corrupted rock ‘n’ roll since the days of Gene Vincent and Jerry lee Lewis, through the likes of Hasil Adkins and The Stooges, and on to the likes of The Cramps, Gun Club, and The Ramones and more. Raw and cast in lo-fi manna, the single sizzles on the senses as it infests the body and purges the psyche like a predacious attack of sonic leprosy.

too-high-frontcover-copy_RingMasterReviewToo High To Die rumbles and grumbles from its first sonic lancing of ears, rhythms cantankerously bouncing as deranged vocal urgency colludes with the winy enterprise of the guitar. The whole song is like one giant chorus such its rousing catchiness with the fiery guitar solo additional toxicity to greedily devour.

Companion I’d Kill is just the same, a virulent stomp from first note to last but even more soaked in seventies punk with a touch of bands like The Saints and The Lurkers to it. A belligerent snarl with more contagion to its persuasion than any plague, the track alone but definitely in union with Too High To Die sparks even more impatient anticipation for The Cavemen’s impending second full-length.

Too High To Die / I’d Kill is out now via Dirty Water Records @!/The-Cavemen-Too-High-To-Die-b-w-Id-Kill-download/p/70351208/category=18119001

Pete RingMaster 23/09/2016

Copyright RingMaster: MyFreeCopyright

Archie and the Bunkers + PowerSolo Split Single


Dirt Water Records are never slow in giving us a treat or two and they have set the bar with the recent release of the split single featuring US duo Archie and the Bunkers and one of our sonic favs, Danish trash rockers PowerSolo. Offering up a juicy slice of their distinctive sounds each, the two pairs of brothers stir the instincts and arouse the spirit in a release all punk, garage rockers, and rock ‘n’ rollers in general should grab a bite of.

Archie_RingMasterReviewWith their self-titled debut album still ringing in and exciting ears since its release towards the end of last year, Cleveland hailing Archie and the Bunkers offer up The Roaring 20’s for the single. Taking their name from the classic US television sitcom All in the Family and drawing on inspirations from the likes of Dead Boys, The Animals, The Stooges, The Screamers, The Damned, Jimmy Smith, and Richard ‘Groove’ Holmes, siblings Emmett (drums/vocals) and Cullen (organ/vocals) instantly involve ears in a barrage of meaty and eager rhythms as the Hammond-esque tones of Cullen’s organ dances alongside. An emerging and lively blend of sixties garage rock/pop and blues infested psych devilry; the song starts as a fuzzy yet relatively controlled proposal but the passing minutes see a loco element brewing and subsequently bringing even more riveting discord and unpredictability to a rousing song and climax. As well as a tasty part of the single, The Roaring 20’s also provides a myriad of reasons to explore Archie and the Bunkers more and to check out their first album.

The same applies to PowerSolo and their offering. The truth is that if you have not been bitten by their sonic bug yet you have been missing out for a fair while PwerSolo_RingMasterReviewnow. Coming out of Arhus, brothers and string distorting guitarists/musicians Kim Kix and the Atomic Child are one of kind. Musically they seem bred from the same genes and inspired by the likes of Hasil Adkins, Charlie Feathers, and the Cramps, but as proven by their handful of albums, the duo defy one style, a single sound, and any tries to pin them down. Powersolo get the body shaking and swerving while the senses and psyche are being violated, all with delicious effect, and Fuzz Face, their contribution to the split, is no exception.

A single hook teases first, an accusation of one’s face quickly following before riffs and rhythms join the devilish affair. That initial hook continues to tempt, its lure simple but virulent as vocals and beats dance around with flirty shenanigans. With a perpetual swing which alone grips body and heart, the song and duo cast a soundtrack suitable for everything rebellious, frivolous, and downright naughty.

Two wicked bands and two irresistible romps, what more could anyone want.

The Archie and the Bunkers + PowerSolo Split Single is out now via Dirty Water Records @!/Split-single-PowerSolo-vs-Archie-and-the-Bunkers-7-+-download/p/67128820/category=13761039

Pete RingMaster 24/08/2016

Copyright RingMaster: MyFreeCopyright

Los Chicos – Rockpile of Shit

Los Chicos_RingMasterReview

There are few rock ‘n’ roll parties as thrilling and irresistible as those provided by Spanish rockers Los Chicos, an experience they offer once again with new album Rockpile of Shit. Offering fourteen tracks which embrace everything from garage to pub rock, punk to funkily soulful shenanigans and plenty more, the release is a feast of boisterously rousing rock ‘n’ roll and a delicious echo of the Madrid quintets’ inimitable live show.

Formed in 2000, Los Chicos have released a quartet of increasing acclaim grabbing albums before Rockpile of Shit, the previous trio of Launching Rockets (2007), We Sound Amazing But We Look Like Shit (2009), and In the Age of Stupidity (2013) released, as the band’s new encounter this time in conjunction with Folc Records, on the always impressing Dirty Water Records. Live the band has ignited stages alongside the likes of Mudhoney, Southern Culture on the Skids, King Khan, The Sonics, Johnny Casino, Soundtrack of our Lives, Redd Kross, Cosmic Psychos, Spencer P Jones, The New Christs, The Young Fresh Fellows, The Meanies, Barrence Whitfield, Hi-Risers, Eddie And The Hot Rods, Roy Loney, and many others and toured across the globe, hitting Australian four times. Now they are ready to set a new stomp in motion across the world with Rockpile of Shit, a one hard to resist slab of fiercely flavoursome rock ‘n’ roll.

Feet and hips are soon as on board with band and album as ears when opener A Kingdom Of Coolness starts things off. Choppy beats and riffs soon tempt as grooves and vocals steer the course of the punk infused encounter. With its seeds seemingly in sixties garage rock and seventies punk, the track carries a great feel of old UK band The Cortinas to it as it emerges an undemanding yet seriously inescapable incitement to body and appetite as virulently infectious as it is commandingly rousing.

The same qualities fuel the following Rockanrolla, its own raw rock qualities making a potent temptation around the inviting tones of vocalist Rafa Suñén. Again the guitars of Gerardo Urchaga and Antonio Urchaga nag and jangle with remorseless enterprise and persuasion, bringing an Eddie And The Hot Rods hue to its boisterous catchiness before the even more virulent charms of I Don’t Wanna Learn Anymore steps forward. The swinging bassline of Guillermo Casanova makes for a powerful lure as the crisp beats of Ral García back up its invitation; they in turn matched in old school revelry by the guitars but with a modern spice which is inimitably Los Chicos.

FDW003_RingMasterReviewThe funky R&B of Older And Better has feet taking to the floor from its first rhythmic beckon, backed perfectly by the sizzling flames of sax which grace the outstanding encounter. With a hint of King Salami and the Cumberland Three to it, the song is mouth-watering devilry laying an early claim to best track on the album but soon rivalled by its Department S spiced title track. It too infests body and soul, bringing each alive and indeed eager vocal participation with its and the bands creative festivity.

Last Day Here offers a fiercer snarl while feasting on a fifties rockabilly inspiration. Equally though, it has a power pop vibrancy which lights up another impossible to escape chorus, voice and hips puppets to its manipulative magnetism. With discord flirting with the guitars and a Devo-esque quaintness emerging, the track epitomises the album; a seemingly simply flavoured proposition soon showing itself bursting with bold adventure and diversity.

The country/cow punk romp of Responsibility Ville hits the spot with ease next whilst More Beer is a melodic jangle sparking thoughts of countrymen The Pulsebeats as it too grips an already greedy appetite for release and sound. The wonderful relentless beats of García, as throughout the album, enslave ears and spirit alone, guitars and vocals playing with its conquest in an array of styles and devilish ways, Miami Beach soon employing its own surf hued punk ‘n’ roll web ensuring there is no respite for the listener’s  body and enjoyment.

Through The Ramones meets The Members like Mommy’s On MDMA and the country punk of Little Man, there is no lessening in bouncing songs and bodies while Night Ride adds its own individual twist on the country rock scent. All three leave a big smile on the face, though each is eclipsed by the scuzzier funk ‘n’ roll of I Know I Don’t Know and finally the hypnotic shuffle of closing track Toga Land. The pair ensures that physical and emotional involvement is at its most eager as the album comes to a mighty conclusion, an event leading only to a hard deny urge to press play and start all over again.

A great many already know of the rock ‘n’ roll majesty spun by Los Chicos, and with Rockpile Of Shit we can be safe in suggesting so will a great many more. This is one party everyone should gate crash.

Rockpile Of Shit is out now via Dirty Water Records/ Folc Records @!/~/category/id=2801529&offset=0&sort=addedTimeDesc and

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

The Pulsebeats – Fiction Non-Fiction

The Pulsebeats_RingMasterReview

Every two years or so we seem to get a new stomping encounter with The Pulsebeats; a regular occurrence, certainly over the past four years, providing so far highly memorable and rousing adventures. Nothing has changed with new album Fiction Non-Fiction either, a riotous ten track affair which has the body and spirit leaping with the band’s distinct fusion of garage and punk rock with power pop contagion.

Formed in 2010 by a quartet of musicians from Manchester and Santander in Spain, The Pulsebeats soon had an increasing flock of fans bouncing live and with their self-titled debut album of 2011. A raw but captivating romp, it awoke a new wave of attention and media interest which was further stirred up by the band’s three track 7” single Don’t Turn Your Fucking Back On Me two years later. That release immediately revealed a new imagination and diversity in the band’s songwriting and sound which has now been taken to yet another plateau with Fiction Non-Fiction. Released a couple of weeks ago by FOLC Records and Action Weekend Records, the recording of The Pulsebeats’ new roar of energetic fun saw the band return to Santander’s Drive Division Studio with Alex Pis handling production. What emerged was a collection of songs eager to reveal the band at its most musically adventurous and indeed creatively tenacious yet.

What Can I Do? is the first slice of engaging incitement on the album; a welcome instantly wrapping ears in jangly guitar and crisp beats. The distinctive British tones of Nathan are soon adding to the already potent lure of the song, his and fellow guitarist, Luis’ riffs and hooks surrounding his tones with matching zeal and expression The track is a tidy slice of power pop mixed with sixties spiced R&B, a warm an catchy start soon eclipsed by Dead School Marching Band. New wave like guitar insurgency rubs the senses first; their almost duelling bait soon accompanied by the swinging rhythms of drummer Ral and the almost haughty bassline of Alex. In no time, the outstanding song has feet and hips bound in its virulence whilst a Who/early Jam hue blossoms to ignite the imagination. It is also an inventively busy proposal, vocal growls and writhing harmonies colluding with spiky hooks and tangy grooves to add to its ear gripping devilry.

Cover_RingMasterReviewThe punk ‘n’ roll of Eyes On You leaps straight from the closing breath of its predecessor, the track a glorious old school incitement with a touch of early Buzzcocks meets The Freshies to it; indeed Nathan adding a Howard Devoto like toning to his raw vocal persuasion. Like the previous track, it quickly and easily has body and passions involved while showing more of the variety in sound shaping Fiction Non-Fiction.

The following All I Give also has some of that nostalgic spicing to certainly its acidic hooks and uncluttered body, bringing a lighter infection of pop ‘n’ roll for its magnetic chorus, while Carrie-Anne is a less forceful proposal creating a flirtatious smoulder with sultry surf like melodies within a power pop/new wave hug with just a touch of The Only Ones to it. Both songs easily command undiluted interest and an increasingly greedier appetite for the album, if without quite matching up to the major heights of those before them and the thumping garage rock ‘n’ roll of Baby Girl. The anthemic punches of beats alone have limbs involved, vocals and riffs taking care of the rest of quickly seduced attention.

The mischievous nature of the band in word and sound is never far from the surface of the album and especially dynamic and irresistible in The Man Without A Head. The stomping slice of rock ‘n’ roll is an epidemic of sonic contagion with a host of additional strands drawn from blues, vintage R&B, and pop punk. Many tracks have a claim for best track honours within Fiction Non-Fiction, this one of the most vocal though so too is its successor, the resourcefully infectious and melodically lusty September Calendar Girl.

To be honest most tracks create an unforgettable peak within the lofty stature of the album, the glorious Everybody Wants Some intoxicating punk rock revelry almost aflame with raw energy and attitude to match earlier heights. It offers an uncomplicated two and a half minutes of breath-taking and seriously addictive rock ‘n roll which just ignites body and soul.

Completed by the even briefer punk riot of The Ballad Of Medicine Stu, again a track impossible not to get fully involved in, Fiction Non-Fiction is the kind of release you turn to for pure fun, knowing it will not disappoint in sound, adventure, or attitude. As for The Pulsebeats, they just get better and better, which means so do their records which Fiction Non-Fiction can testify.

Fiction Non-Fiction is available now on CD and download through Folc Records/Action Weekend Records and @

Pete Ringmaster 11/05/2016

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Victoria+Jean – Divine Love


From the gorgeous artwork by Russian artist Oleg Dou through to the cinematic seducing which escapes each and every song, Divine Love is creative beauty involved with an imagination which simple leaves the listener lost in fascination. The imagination comes from Victoria+Jean, the episodes of aural drama from their debut album, and the brooding romance between listener and artist from instincts that just know when something transcends just ear food.

The band is the artistic and romantic union of Swedish born vocalist Victoria and Belgian guitarist Jean. Brought up in London and moving to Paris where she began her first career as a model, Victoria was a musician at heart and was signed as a solo artist aged 16 by a French major label, though she broke her four-album deal before releasing her debut, unable to make the compromises demanded upon her by the label. Moving to Belgium she met Jean and the couple began a career “motivated by encounters, travels and sound.” We have simplified the background for and leading to the project and union of the pair, with not for the first or indeed last time, Divine Love demanding to be the focus of attention.

art_RingMasterReviewIn creating the album, the duo sent their 12 tracks to their favourite producers with the request of collaboration for the release. The list included the likes of John Parish (PJ Harvey, Goldfrapp), Rob Kirwan (The Horrors, Depeche Mode), Christopher Berg (The Knife), Ian Caple (Tricky, Kate Bush), Joe Hirst (Stone Roses), Alistair Chant (PJ Harvey & John Parish), and Lucas Chauvière (De La Soul). As evidence of things being meant to be, each freely chose the same track Victoria+Jean had intended and hoped for them; a move and success which only adds to the album’s vastly diverse and eclectic character.

Divine Love opens with its title track and the duo’s new single. Within seconds the electronic mystique and ambience of the track has ears and imagination enthralled, the sixties cinematic drama in tone and air providing a great sense of mystery reinforced by the celestial caresses of Victoria’s mesmeric vocals. The gentle and elegant jangle of guitar equally brings rich suggestiveness to the enveloping theatre of dark charm and atmospheric tempting. There is no escaping a Portishead like essence to the bewitching encounter though equally artists like Propaganda and in a small way The Sugarcubes also offer their scent to its evocation.

It is a glorious start followed by the ridiculously irresistible Holly. From an initial lure of fuzzy guitar and mischievous beats, the song soon swings along with a virulent infectiousness which barely needs a handful of seconds to have hips swaying and spirit smiling. Victoria’s voice dances upon the compelling strands of sound, mixing composed moments with soaring harmonics as rhythms dance with addictive tenacity. As provocative in word as it is in sound, the track is sensational; growing with each twist of its musical theatre and lust inspiring alchemy.

Big Billie comes next, coaxing ears with raw blues guitar before thumping rhythms surround the tangy expressive tones of Victoria. Jean’s imagination continues to weave a sultry web of sound and enterprise to surround the tribal beats and descriptive vocals; a provocative blend playing like a mix of The Creatures and My Baby. Enthralling and igniting the senses it makes way for Until It Breaks and its brooding climate of sinister shadows and electronic espionage. As all songs, it has the imagination casting its own adventures to align with that of the song itself, sparking closer involvement between ears and song which is echoed again by Why Won’t You and its delta blues laced tango.

Across the fiery sonic and rhythmic trespass of Your Baby Don’t Know Me and Firecracker, things only get more boldly flirtatious and grouchily confrontational. The first is a prowling beast of a track with a touch of De Staat to its predacious noise rock infested waltz whilst its successor, while employing a similar dark rhythmic throb, courts techno fuelled ingenuity. It is a collusion which just gets more dynamic, agitated, and schizophrenic across its three body involving minutes, like its predecessor inciting a greedier appetite for Divine Love before a haunting beauty cast with a vibrant calm hugs ears through Härligt Sverige. Tantalising harmonies float around the poetic tones of Victoria, they skirted by resonating beats and the low key repetitive niggle of guitars. Winy tendrils vein the piece too; Jean creating an increasingly climactic drama matched by the vocal emotion equally gripping attention.

Ears and pleasure become engrossed in more blues bred invention through Takes You Like A Rose and Where We Belong next, the latter tempering the flavour with a bewitching folk seeded hug of melody and harmony before creating a tempestuous showdown of sound and emotive theatre. It is a glorious slice of aural cinema, again visual interpretation quickly inspired by the song and indeed Pull The Trigger which follows. Rhythms and percussive enterprise tease and play with ears before hitting an imposing stride entangled in sonic and vocal imagination. Anthemic and intimate within every writhing twist and turn of its excellent proposal, the track is like a hex on body and thought.

Closing with the epic spatial and atmospheric romancing of Define Love, an immersion into electronic and vocally harmonic reflection, Divine Love is one of the most enthralling and in turn invigorating releases heard in a long time. Every song provides an individual and compelling exploration still revealing fresh rewards after numerous listens. The album has plenty for fans of blues and rock ‘n’ roll, ambience and electronica, pop and dance and with a host of videos also accompanying each song, Divine Love is nothing less than essential listening and viewing.

Divine Love is released April 29th via FY Records at and across most online stores.

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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The Franklys – Comedown/Long Way

The Franklys_RingMasterReview

The Franklys create a sound as enjoyably nostalgic as it is fresh and individual to modern garage rock ‘n’ roll. They also uncage releases, like new single Comedown, which demand attention whilst sharing the suggestion that its creators has the potential to be one of the provocateurs that the future direction of modern rock ‘n’ roll might just hinge upon.

The band consists of Swedish born vocalist/rhythm guitarist Jen Ahlkvist and lead guitarist Fanny Broberg, America hailing Nicole Pinto, and British bassist Zoe Biggs. London is where the quartet met and the band is based though fair to say since emerging, The Franklys has been a blur on the live scene, persistently playing shows in and touring the UK, Europe, America, and Scandinavia as well as making prise luring appearances at festivals such as the Isle of Wight Festival, Strawberry Fields, and Camden Rocks. Their rousing and raw garage rock sound brings a mix of psych and punk rock from across the decades with plenty more to spice things up whilst inspirations range from The Hives, The Strokes, and Queens Of The Stone Age to Led Zeppelin, Mando Diao, Blondie, and The Who. Their self-titled debut EP whipped up intrigue and strong interest back in 2013 which the Bad News EP stirred up to greater success last year. Now it is Comedown making the potent nudge on broader spotlights and attention, and making an easy job of it so far since being recently unveiled.

Comedown instantly has ears under welcome siege with a blaze of fiery riffs soon joined by thumping beats and a raw wind of hungry energy to its invitation. The bassline of Biggs almost groans with relish as its stalks the web of bracing sonic and melodic flames escaping the guitars with Ahlkvist’s ear catching vocals adding further bite to the snarling temptation. It is a great blend which helps the song weaves something akin to The Raincoats and The Priscillas around a character which equally refuses to be majorly compared to another. Never taking a breath within its contagious confrontation, the track has body and spirit aroused and swiftly joining its rousing tempest of incitement.

Accompanying the outstanding track is Long Way; a far more subdued encounter with just as potent and seductive lures. Its climate is surf rock bred, its sultry shimmer sixties garage rock/pop coloured, and its scuzzy touch punk seeded. It simply enthrals from the off; beguiling ears and appetite whilst revealing another flavour and twist to the songwriting and sound of The Franklys. If The Shangri-Las were Spinnerette, or The Luv’d Ones were The Breeders, the results just might sound like Long Way.

Acclaim and The Franklys have already been more friends than strangers but it feels like things are going to get hotter and more flirtatious from hereon in as first Comedown and then the band take 2016 by the scruff of the neck.

Comedown is out now via Electric Wood Records and available @ and through iTunes.

Pete RingMaster 26/04/2016

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The Cavemen – Self Titled

The Cavemen_RingMasterReview

With a name like The Cavemen, you instantly give a suggestion of sound and character before a note is flung at ears. Thoughts imagine something raw and primal; a sound stripped to the bone with no concern for niceties and that is exactly what you get in the New Zealander’s self-titled debut album. The Cavemen creates attitude driven garage punk ‘n’ roll which simply stirs up the punk inside and twists it into songs which are as addictively contagious as they are belligerently mischievous.

Formed by a quartet of high school teens, The Cavemen emerged in 2012 after spending “several years of under aged drinking and loitering around the various basements, graveyards and parking lots of their home city.” With their dirty and intrusive sound honed to the virulently imposing height found on the new release, the quartet of vocalist Paul Caveman, guitarist Jack Caveman, bassist Nick Caveman, and drummer Jake Caveman soon began stirring up their homeland’s live scene. That success though was soon facing obstacles which led to the band to looking at moving over to the UK, Paul explaining with the thought, “No bar will have us, no station will play us… We might as well bugger off to the other side of the world.” So now London based, The Cavemen has linked up with Dirty Water Records for the global release of their debut full-length, an album having already ignited eager appetites with its previous limited vinyl release via 1:12 Records.

Think The Cramps and The Stooges meets The Damned, in their early days, and The Ramones and you get a clue to the incitement leaping out from the album’s opener alone. Mentally Ill swiftly has ears and appetite gripped with its brawling lo-fi devilment; guitars and bass creating a swiftly gripping tempting as beats trespass the senses with their antagonistic swing and vocals deliver every syllable in a rabid squall of tone and attitude. Garage rock meets ’77 punk rock, the track is an attention grabbing start to the album instantly backed and eclipsed by the irritable confrontation of Fuck For Hate. Hook and grooves entangle as the song stirs up ear and spirit; vocals egging on the track’s rebellion and discontent as it worms under the skin.

cavemen front sleeve_RingMasterReviewIt too is then over shadowed a touch by the outstanding Stand By Your Ghoul. Straight away the collusion of guitar and bass hooks has lips being licked, then smiling broadly as Hamond-esque keys dance devilishly on the imagination within another handful of tempting seconds. The prime bait reminds of seventies band The Piranhas, or more specifically their single Jilly whilst the bare boned roar of the track manages to come over as something between The Dirtbombs and The Horrors in their early days.

The album’s punk driven rock ‘n’ roll continues to seriously involve and excite body and spirit as the fifty scowling seconds of Scumbag leads to the minute and a half invasive seduction of Rides With The Reich. Barely a track goes by without escaping the two minute mark, a short sharp riot approach which does not stop songs like this also uncaging the most contagious of hooks and swaggers within senses bracing tempests of multi-faceted punk rock.

Rock ‘n’ Roll Retard bristles and romps next; wearing its old school punk nature as sonic belligerence before At The Pub barges in with its gang mentality punk ‘n’ roll. Again there is little resistance from feet and vocal chords as participation to yet another song from The Cavemen is inescapable; a submission given time and time again to its persuasion and to brawls like Fucked In The Head and Drink Driving. Again that garage rock flavouring creates great flames of eventful contrasts in the creative truculence stirring up ears, the second of this pair managing to find an oi! like challenge to get even greedier over too.

The limb throwing swagger of School Sucks offers a fractious anthem next whilst Crimes Tonight squeezes some power pop revelry into its sixties/seventies infested rock ‘n’ roll; a fusion of flavours casting something that is The Sonics meets The Saints like. Both tracks, it goes without saying by this point in the album, has the body bouncing and emotions defiant, the latter aspect even more so with the dirty Motorhead tinged rock ‘n’ roll of Glass Breakfast.

The album closes with the irresistible furnace of Trash Talkin’ Paint Huffin’ Girl, a final fevered stomp of incendiary punk and rock devilry as raw and primitive as it is ferociously galvanic. It is a rigorously boiling end to a thrilling blaze of rapacious rock ‘n’ roll from a band which sparks a new flame, song by song, in the bushfire of pleasure which runs through album and its thorough enjoyment.

Time to free the primitive in us all with The Cavemen!

The Cavemen album is released via Dirty Water Records on April 25th @ and digitally @

Pete RingMaster 25/04/2016

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