Razoreater – Vacuum of Nihil

razoreater_RingMaster Review

According to their bio, UK grindsters Razoreater formed in 2011 with “the hope of writing the most misanthropic, abrasive music they could.” It is fair to say that their aim has certainly been achieved within new EP Vacuum of Nihil. It is a five-track scourge of noise and cynical emotion; an animus of intensity and raw sound violating every pore as it ravages the senses. Belying its corruption though, is a nasty virulence springing from the fusion of hardcore punk, d-beat, grind and metal, an infection which keenly incites involvement as its body viciously abrases.

Hailing from Peterborough, the quintet of vocalist Ben Rollings, guitarists Sam Gollings and Stephen Pickles, bassist Sam Holmes, and drummer Luke Thompson have drawn on inspirations from the likes of Napalm Death, Rotten Sound, Pulling Teeth, Dismember, and Entombed in the creation of their individual pestilence of sound. They create a provocation which has seen Razoreater earn strong support and reputation through their releases and live within the underground scene, one now threatening to break out into wider attention with Vacuum of Nihil.

Art12inch__RingMaster Review   Nailbombed is the first rabid trespass on the senses; a sonic breeze initially building around a vocal sample before an eruption of hellacious intensity and rabidity. Guitars scar the air as vocals match their animosity in raw kind upon ears, their turbulence stalked by predatory rhythms and an underlying abusive swing which just recruits the appetite. It is a ruinous confrontation quickly equalled by the following I, Dreadnought, its debilitating unbridled fury quickly showing itself insatiable in animosity and sonic ferocity. As the first storm though, at its core a rock ‘n’ roll psychosis as infectious as it is venomous is laying riotous enslavement within it all.

Both of the opening pair of tracks goes for the jugular but there is more to the Razoreater predation as shown by Bloodeagled, the cancerous invasion crawling over the listener with primal, sludge thick enmity. It too unlatches the gate to unrestrained full-on assaults but the cold and harsher lumbering moments bring new and flavoursome scarring rewards for those braving the murderous affair.

A rampant sonic and vocal rancor drives Wrath next. Flesh flaying riffs and scathing syllables are the fuel to the scavenging proposal with irresistible grooves the tempting scenery within an evolving soundscape of bad blood and creative ill-will. There is no mercy from or escaping of the song’s blistering tirade or that of its successor and closing violation Filth Scheming, Shrill Screaming. Another venomously jaundiced onslaught, the track is a minute and a half of punk pain and gripping danger which eventually content that its barbarous incitement is done unleashes another minute or two of senses smothering black drone hued noise.

It goes without saying that Vacuum of Nihil is going to be a sonic malefaction too far for many but also a delicious infringement of the psyche for others. There is only one way to find out of course, to allow Razoreater to trespass.

Vacuum of Nihil is available from January 13th via WOOAAAGH and Skin and Bones Records on one-sided 12″vinyl with a limited edition of 500 yellow/black marbled copies with etched logo B-side, 12″ insert, and download code and at https://razoreater.bandcamp.com/album/vacuum-of-nihil

https://www.facebook.com/razoreaterhate/

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Violation Wound – Self-Titled

violation wound pic

The fact that Violation Wound is the brainchild of Chris Reifert, a musician who has been a major genre shaping instigator through Death, Abscess, and Autopsy alone, is enough to make his new proposition a must investigation. The fact that it and its self-titled debut album is a rigorously exciting and enjoyable fury is an extra unbridled bonus.

Violation Wound is Reifert creating a dirty uncompromising brawl of punk rock and metal with hardcore ferocity, a sound and release which finds its seeds in old school punk/HC whilst forging its own distinctive voice. It is not a sound which rips up templates but certainly one which makes Violation Wound a fresh and viciously attention grabbing prospect. Reifert formed the band in 2013, the response to an ‘itch’ to play traditional pissed off punk rock. Moving from his usual position behind the drums to guitar and vocals, he enlisted friend and ex- Fog of War bassist Joe Orterry and current Fog of War drummer Matt O’Connell into the idea and band. The trio set to work creating and uncaging their punk ferocity which is perfectly caged within the album. Also featuring guest appearances from Autopsy guitarists Danny Coralles and Eric Cutler, the release like its sound is as raw and honest as it comes. The production is minimal in many ways and also as raw as it comes, allowing the heart, passion, and hostility to songs to breathe without restraint. The album plays like a collection of tracks brought together from different times or recordings, acting with an almost ‘fly on the wall’ like presence over a torrent of live performances. You feel and smell the sweat and aggression in the songs; immerse in their primal essence and emotion as they roar at the world. It is not a release for those without an appetite for the origins of punk in its most vicious guises, but for those where fire in the belly burns with vicious causticity, it is a must.

The album starts with a ferocious bang, opener Don’t Believe It a fire of abrasive riffs and crunchy rhythms over which Reifert snarls and violation wound coverart growls out the lyrics. Sex Pistols like hooks also sears the oppressively raw encounter, adding to the instantly contagious lure of the song. It is a tremendous start, especially with a great expulsion of guitar enterprise towards its conclusion, which leaves the next up Eyes Red And White in its wake. To be fair the track flies at the jugular with jaws clenched ready to rip out the throat of the senses for another riveting and blistering thrill but it is unfortunate to be sandwiched between the strong starter and the excellent Seeing Scars. At even at this point assumptions are set for the feel and voice of the album which the third song pleasingly confirms with its caustic graze of sonic hostility, vocal maliciousness, and rhythmic predation.

It all makes for a formidable and compelling entrance by the band swiftly put into context by the brilliant Glue Trap. Again riffs and rhythms are just a crescendo of vitriolic energy and intent to lay down an appetising canvas. A base which is then dealt exhaustive exploits of heavily throated grooves, spiteful hooks, and a flame of harmonica toxicity. It is barely over one minute of classic punk mayhem, a mix of Circle Jerks and The Exploited with just a touch of Stiff Little Fingers and quite outstanding.

Band and album continue to excite and impress in varying degrees, the likes of the Dead Kennedys sounding Everywhere is Nowhere with its irresistible niggling barbed hook and anthemic chorus and the surely Motorhead inspired rock ‘n’ roller Brian In A Sling casting new infestations into thoughts and passions whilst tracks such as the emotionally grizzled metal fuelled In My Veins and The Ramones kissed Disposable Soul without reaching similar heights still inspire and ignite a greedy hunger with their sonic and muscular vehemence. To be honest there is not one track which does not leave an invigorating and lingering mark, the depth of the savage rancor and occasionally the raw production helping choose some tracks over others as favourites, as well as of course the richness of hooks and shapely riffs, but all songs easily spark new strains of greed towards the album.

Bigger highlights of the album come in the eye balling intense Disconnection and the ridiculously catchy Complaint Box, a song which in fifty two seconds simultaneously bewitches and ravages ears through to emotions like a dangerously peeved tornado. Their triumphs though as soon exceeded by the abrasing animus of Off The Rails and the even stronger alienation of Circle of Wounds, a track where discord and anthemic potency align for a mouthwatering slice of brutal invention.

Brought to a potently solid and enthralling close by the lethal punk croon of Learn and Burn and the heavier rock bruising of Nothing To Say, the album is an excellent bridge to old school punk and modern ferocity which sparks an anticipation of much more from the band, hopefully this not a one off project. Flaws on the album, if they can be classed as real issues, is the production which meanders too much across the songs and as evidenced by the last two tracks, at times there is a too close a similarity between some tracks. That though is more than anything just finding something to temper the enthusiastic recommendation we can only make to all wanting honest merciless punk rock.

Violation Wound is available via Vic Records @ http://www.vicrecords.com/ now!

www.facebook.com/Violationwound

9/10

RingMaster 27/05/2014

Copyright RingMaster: MyFreeCopyright

 

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

http://www.audioburger.com

The Twin Dracula – Introducing

TTD

Making their entrance with a rather tasty and raucous release, UK punk rockers The Twin Dracula instantly set themselves as a band rich in potential and strong on antagonistic craft. Their debut EP, Introducing is a brawl of contagious enterprise and belligerent passion cast within a hardcore animosity. It is an aggressive and confronting encounter but also one unafraid to throw in a captivating hook or rhythmic seduction and a host of melodic creativity which only accentuates and compliments the riotous heart of the songs. The EP is maybe not quite stretching borders or sculpting new heights but certainly is providing a potent breath and promising fire to thrust the band firmly on the punk rock radar.

Formed in 2012, the quartet takes inspirations from the likes of Kid Dynamite, Propagandhi, and The Bronx into a proposition coverwhich grabs attention with ease. Comprised of four eager and bold tracks with a raw energy and similarly uncompromising intent, Introducing takes mere moments to enclose the ears in an intimidating and fully persuasive encounter. Opener Check Mate is choice punk rock from start to finish; it’s first touch a rapping of rhythms and last a lingering toxicity which draws you back time and time again. It takes mere seconds for the track to hit full stride, riffs and rhythms stomping with attitude and intensity whilst the vocals scowl and challenge thoughts with a semi clean scowl of a delivery enjoyably reinforced by group shouts and barracking. The rhythmic core is a constant temptation throughout the song and keeps the pressure going perfectly even when the song impressively dips into a restrained and melodic detour before returning with nostrils flaring for an anthemic finale. It is a striking and thrilling start to the release and as a first engagement with the band, a song drenched in promise providing unbridled satisfaction.

The following Guts has a heavier imposing intensity and gait compared to its predecessor, one skirted by a sonic enterprise which lights its darkest corners. The almost lumbering entrance holds a menace to temper the melodic design searing its edges and combined the elements give the song an intriguing lure, especially when the sounds come to a halt and an excellent expressive lone vocal expels the first calls of the narrative which in turn coaxes out a fiery return of striding riffs and imaginative flames framed in a rampant rhythmic temptation. It is a smouldering slice of rich enticement which shows a depth to the band’s songwriting and their ability to stretch it further again with sound and imagination.

The next up All The Fours brings an immediate swagger and enticement to its initial scrub of riffs to confirm the potential and quality shown in its predecessor. The addictive tone and jagged edge of the guitar brings thoughts of Rocket From The Crypt to mind whilst the subsequent abrasive and compelling fury has the marks of fellow emerging Brits Dead Retinas to its caustic presence. Like the opener the track is an addictive anthem of rhythmic pugnacity and sonic rascality forged into an infectious charge which stirs up the senses and passions with aggressive revelry. A punk stomp with muscular heavy rock intensity, it is a formidable incitement to again easily hang the passions upon.

The closing Woodley Swine is a hardcore bred slice of punk ferocity, a direct and scathing lashing of sound and vocal hostility which without matching earlier heights riles up the emotions and imagination in strong and hoarsely rowdy style. It is a fine conclusion to an excellent debut from The Twin Dracula; Introducing the first impressive step of a band with the fire and potential to make a deep mark certainly on the evidence of this entrance.

http://thetwindracula.bandcamp.com/

http://www.thetwindracula.com

8.5/10

RingMaster 17/12/2013

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

http://www.audioburger.com

The Amputees – Scream EP

The Amputees pic

It has been over a year since US punks The Amputees released their excellent Commence The Slaughter EP, a release which certainly put the New York City based band on the radar whilst expelling a wealth of promise for their future endeavours. The Scream EP is the next encounter to be unleashed and it not only builds on that strong base but sees the band leaping up big levels in maturity, craft, and just plain quality. Released November 23rd via Money Fire Records, the five track release is an eclectic mix of numerous vibrant hues of punk rock for one very contagious slab of bustling rock ‘n’ roll.

The seven strong unit immediately has feet and emotions leaping with opener Beanie. A raucous riot of pop punk with a vein of a1402476998_2Ramones like addictiveness to its charge, the track is one of those anthems which lingers and hides in the psyche to appear at its own will at any time. Described as “a theme song dedicated to their bass player”, the song stomps with energy and craft, guitars carving up the air with infectious lures whilst bass and drums add a hungry texture which only adds to the contagious body, the snarling four string presence of Geena Spigarelli especially irresistible. The vocals of guitarist Louis Ramos backed by the appealing tones of Carrie Ramos reinforce the catchy and magnetic call of the song and against the strong driven rhythms of drummer Kaleen Reading make a tempering persuasion.

The outstanding start is soon matched by the darker colder charms of Holden. With riffs striding purposefully alongside again rigidly uncompromising rhythms, the song offers an intimidation missing in its predecessor and a heavier rapacious breath. Irresistible and resourcefully sculpted grooves vein the compelling track, their ridiculously addictive and almost insolent prowess mouth-watering assistance to the great vocals of guitarist Nova Luz, her voice and delivery helping send the track into comparisons to the likes of The Distillers and L7. The song continues the grip of the EP with ease, the first two songs already igniting a real passion for the release and giving a real task for the other songs to stand up to.

Both King Jubs and the title track go for it with relish, the first a thirty second stab of punk ferocity, prime old school hardcore punk spewing exhausting exciting venom whilst the second merges hardcore and pop punk into a fiery scuzz lined blaze of sinister garage punk, guitars and vocals a great caustic combination speared by those ever brisk and urgent rhythms. Though neither quite manages to rise to the heights of the opening pair of tracks, both leave hunger and emotions wanting much more for the diversity and matured strength The Amputees have bred.

The release closes with the contagion expelling 88, a song which has limbs and energy recruited with its Ramones meets Late Cambrian like blend. It is simple, raucous, and irresistibly incendiary to the passions and limbs. A final anthemic bait to send the EP off in fine style, the song equally ensures there is no option but to go back to the start of Scream and bask once again in its punk rock triumph.

The EP is the perfect invitation to newcomers into one of the US’s best emerging punk bands. A quick mention also goes to guitarist Gary Young, he another contributing strong craft to songs though it is hard to know which guitarist appeared on which song, and to Screaming Females’ frontwoman Marissa Paternoster who provided the great cover art to the release. If you are looking for punk which maybe is not yet ground-breaking but certainly refreshing and most importantly thrilling than The Amputees and the Scream EP is a must.

http://www.theamputees.org

9/10

RingMaster 20/11/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

In Evil Hour – The World Bleeds Out

pic by Helen Templeton Photography

pic by Helen Templeton Photography

A snarling insatiably commanding beast of a release, The World Bleeds Out the debut album from UK punks In Evil Hour is a sensational blistering of senses and thoughts from a band who know how to craft virulently contagious and potently provocative songs. A blaze of essential fresh punk rock with a lyrical bite which takes no prisoners within incisive swipes upon politics, society, and the apathy and ignorance that pervades modern culture, the ten track release leaves a fully exposed and hunger driven passion in its wake, whilst In Evil Hour steps forward as another irresistible voice declaring that UK punk rock is again leading the world.

Formed in 2003, the quartet from Darlington takes seeds out of inspirations from the likes of AFI, Amen, Black Flag, The Stooges, Bad Brains, NOFX, Bad Religion, Sick of it All, and Rise Against to name a few, into their own flavoursome hardcore punk. It is a sound which is not unafraid to load itself with infection soaked hooks and riffs but as an additive to tempt rather than undermine the sinew lined directly evocative heavy punk attack they conjure. Released through STP Records, The World Bleeds Out is a savage yet anthemic confrontation which allows hope and temptation to be as rife and alluring as the aggressive and spiteful creative toxicity which stirs up and incites the imagination.

Opener Divide And Conquer stands eye to eye with the listener as the rasping growl of Alice confronts the ears skirted by crisp and a0645899867_2antagonistic rhythms and swiping raw riffs. The track is soon charging for the jugular of the senses with rabid beats from Mike whipping the song on whilst bassist Mark and guitarist Gareth create a vitriolic and persuasive mesh of caustic might. With anthemic vocals in league with an equally demanding instigator in the chorus, the song is an outstanding and powerful entrance into the album.

     Far From Home takes up the fury next with a splattering of rebellious beats sparking the rest of the song into an initial rage against the senses. It is a great start but one which is left behind once the song settles into an incisive stomp of rumbling rhythms ridden by the continuing to impress, with greater strength as each song steps forward, vocals of Alice. There is a Wendy O Williams essence to her delivery which only enhances the lyrical expression and song attack overall, something which the music seems to understand and find inspiration from, this track gaining ever increasing intensity and rapaciousness with every syllable expelled with brawling strength.

Both As Seas Rise and Where You’re Left continue the immense presence of the album if not quite to the earlier heights set, the first creating a sonic scrap with the ear in which there is only one winner, especially with the deliciously catchy swing and barbed melodic enticement through the guitar skills and vocal harmonies and calls. Its successor is a scorching flame of guitar scalding and rhythmic bashing again steered impressively and skilfully by the vocals singular and as a riotous union.

The lethal swipe of animosity that is Little Death is a fifty five second storm of magnetic viciousness, a hardcore blitz which thrills from its first uncompromising breath through to its last. It moves over for the mutually outstanding Help Me Out, an acidic spiral of heavy rock guitar teasing and taunting whilst the rest of the band adds their particular predacious craft and incendiary invention. A bruising rock n’ roll rampage which leaves the passions aflame with greedy appetite it provides one more stunning moment amongst a great many on the release.

The instantly compelling bass lure to The Terminal brings in another exceedingly agreeable altercation, the band arguably more restrained in its proposition though no less direct and imposing lyrically and in presentation. The bass continues to steal the show on the track, its finest and most potent moment on the album where at times it feels like it is given a back seat place in the production, whilst as now expected Alice draws attention with her striking presence which to be fair often puts most other aspects in the shade.

The excellent title track grazes up the senses and passions with its own individual exciting and imaginative spat whilst the brilliant I Lost Years, where bass and guitar find another plateau to tease a new rapture out with their impossibly addictive rough charms. A Dead Kennedys like hook steers the passions whilst the surrounding body of the song is a mix of Angelic Upstarts/UK Subs and Penetration/AFI. It is a terrific creative and raucous adventure cementing the depth and quality of band and album.

With Murder Murder closing up The World Bleeds Out with one final tempest of contagion drenched excellence, a blend of Bad Religion and The Duel coming to mind as it steals another wave of ardour from the emotions, In Evil Hour emerge as one of the most impressive emerging forces in punk rock, and not just in the UK. A classic album from an extremely impressive band, not much left to say.

http://inevilhour.bandcamp.com/

https://www.facebook.com/InEvilHour

10/10

RingMaster 17/09/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

BLEAK FALLS set loose new EP’The Grass Gets No Greener’, on 18th November‏

Bleak Falls Promo Shot

SUSSEX NOISE CHIEFS BLEAK FALLS RELEASE NEW EP THIS WINTER!

Southern riff monsters ‘Bleak Falls’ lay assault to the UK with their new EP ‘The Grass Gets No Greener’, out Monday 18th November through all digital stores.

Encouraged by the likes of Cancer Bats, Deftones and Nirvana, Bleak Falls can be placed within the bracket of Alternative Metal/Melodic Hardcore with their barbarous and aggressive sound. Yet their ability to cleverly maneuver melody and mood set them apart from bands more captured by the genre.

Born at the end of 2011, the Sussex melodic hardcore crew express a sound that pitches sincere emotion and broody atmosphere bonded with ferocious power and unbridled energy; their songs will undoubtedly sweep you along for a belter of a ride.

During the past eighteen months, the south-coast five-some have steadily made waves through the UK scene. Along the way, they’ve been highly praised by Front Magazine and have shared stages with Landscapes, The Long Haul, Isolated, Honour Is Dead, If Heroes Should Fail, and Set Your Sails. Bleak Falls also nationally released their debut EP ‘Another Rainy Day’, which acquired strong national press coverage from Big Cheese Magazine and Powerplay, as well as extensive underground support.

The quintet now press on with their brand new EP ‘The Grass Gets No Greener’. The record starts with the moody groove of ‘Forever/Always’ before shifting gears and delivering an assault of hammering beats and immersing vocals to spectacular effect. The stomping punky sway of ‘95’ is next up, and it duly bashes your eardrums, before ‘A Taste of Change’ switches lanes, displaying the quintet’s increasing diversity and growing maturity with a superb slab of heartrending alt-rock. ‘Deadlock’ picks up dealings again with a gut-wrenching piece of ball-busting low-tuned skuzzy metal, and as the closer ‘Put Me to Sleep’ comes over you, you are left in no doubt that the five-piece have the energy, tunes and rage to be one of the chosen bands to break from the shackles of the underground this year, just watch them take off…..

Bleak Falls Cover Artwork
+ BLEAK FALLS ‘THE GRASS GETS NO GREENER’ ON MONDAY 18TH NOVEMBER THROUGH ALL DIGITAL STORES +

http://www.facebook.com/BleakFallsOFFICIAL

TRACKLISTING: 1. Forever / Always; 2. ‘95; 3. A Taste Of Change; 4. Deadlock; 5. Put Me To Sleep.
BAND MEMBERS: Rudi Ridgewell (Vocals); Chris Shane (Guitar); Don Wainwright (Bass); Luke Marshall (Guitar); Ben Vaughan (Drums).
FOR FANS OF: Deftones, Cancer Bats, Terror.

Shai Hulud: Reach Beyond the Sun

pic nathanielshannon

pic nathanielshannon

There is a full tank of positives you can place upon hardcore punk metallers Shai Hulud but the richest element they have is their passion, the fuel to their songwriting, creativity, and performance. It has always driven their sound and set the band above most similarly gaited bands, the furnace which fires and defines their distinctive and provocative confrontations. Returning after five years with new and fourth album Reach Beyond the Sun, the band and sound has lost none of its intensity, in fact it sees the band even more confronting and ferocious than ever. Released via Metal Blade Records, the album sees the band brewing their recognised sound into another raw and abrasively inciting tempest. It is less metal lined than previous release Misanthropy Pure and arguably a step back to earlier releases in sculpted intent but a storm from the band which is better than ever.

Reach Beyond the Sun is produced by New Found Glory guitarist Chad Gilbert who was the vocalist upon Shai Hulud’s 1997 debut album Hearts Once Nourished With Hope And Compassion. He also performs vocal duties upon the new album bringing extra fire and visceral angst to the riveting release matching the imposing hardcore punk venomous sound. The album also features guest vocals from the likes of Jay Pepito (Reign Supreme, Blacklisted), John Vigil (The Ghost Inside), and Louis Hernandez (Alpha & Omega) among many, as well as former Hulud vocalists Matt Mazalli, Damien Moyal, and Geert van der Velde, all on the track Medicine to the Dead. Lyrically the band evokes and incites emotions as powerfully as ever, inviting and challenging the listener to delve deeper into feelings and thoughts personally and in regard to society and the world. Sonically and verbally the release scorches the senses and emotions to provide a canvas and aural caustic paint box to picture the scourge and wonder that is the human condition.

The release immediately and potently squalls within the ear with opener The Mean Spirits, Breathing, the vocals of Gilbert 11183_JKTcoursing through the senses with fire in their blood to match the scything rhythms of drummer Matt Covey and scarring sonic riffing from guitarist Matt Fox, all stalked and matched by bassist Matt Fletcher. With a melodic acid as rich and vigorously fruitful as the aggressive changeable stance of the song, the track is a powerful blaze of inventive and direct confrontation which energises and intimidates with impressive force.

     I, Saturnine with its corrosive breath and anthemic animosity and the irresistible title track both continue the impressive start to the release, the second of the pair one of the biggest pinnacles of the release. Through its heart driven intensity and intriguing shifts of energy and pace there is a torrential rain of sonic punk confrontation in sound and word which ignites deep inside. Through the likes of the towering A Human Failing, a track which stares you straight in the eyes and demands attention and thought, and the sensational Man Into Demon: And Their Faces Are Twisted With the Pain of Living the band just enrich and devour the senses and emotions further and deeper. The latter of the pair is a delicious unpredictable maelstrom of anger, imagination, and intensity which shifts its pose and structure relentlessly to simply magnetise and thrill.

The already impressive album gives its biggest triumph in the stunning To Suffer Fools, a brawl of punk, hardcore, and antagonism sculpted into a virulent contagion of malevolent sonics and breath-taking ingenuity which infests, infects, and seduces the passions. The track is the band at its most powerful with energy to splinter bone, a spite to wither defences, and a skilled prowess from all to leave most other bands inventively and inspirationally in their wake.

With songs like Monumental Graves and At Least a Plausible Case for Pessimism leaving further elevated heights within the outstanding Reach Beyond the Sun, Shai Hulud show no let-up in their ability to inspire and set bench marks for other hardcore/metalcore bands to aspire to.

http://www.hulud.com

9/10

RingMaster 22/02/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com