Magnetic reflections: looking into Black Mirrors

We were aware of the buzz building up around Belgian band Black Mirrors so eagerly anticipated checking out their new EP release with Napalm Records. Fair to say that Funky Queen more than lived up to the praise gathering around its release, revelling in the myriad of flavours behind its bluesy rock ‘n’ roll. Offered the chance to find out more about band and release we fired questions at vocalist Marcella Di Troia and guitarist Pierre Lateur.

Hi guys and thanks for talking with us.

Firstly can you give us the background to Black Mirrors; its beginnings and how you all met?

, c Nanna Dis 2016

Marcella: During summer 2013, I wanted to create a female band. I found a drummer and a bass player but found it difficult to find a female guitar player. I was looking for someone who could play like Pierre the actual guitar player. I was fond of his sound. I couldn’t find a girl who could do that. So, I asked Pierre to join the band. After some jamming, we wanted to work harder and to start to write our own songs but the girls didn’t have time to invest in the project. So we forgot the idea to have an (almost) female band and invite two old friends, Gino and Edouard to join the band as bass player and drummer. We used to play with them in other bands before Black Mirrors.

We recorded our first EP and did our first gigs with this line up late 2013.

What inspired the band name?

Marcella: The name Black Mirrors came up with the TV show Black Mirror, a really cool English series which shows how technology is progressively changing our world. People are more distant to one another by being connected to the virtual world. We do not want to judge anybody, it’s just that we are witnesses of that change in our society and it touches us.

You sound is seemingly bred in garage rock but, as your new EP Funky Queen shows, flames with much broader rock ‘n’ roll diversity. What are the kinds of inspirations which have lit your musical imaginations most prominently?

Marcella: All the bands we are listening to were influenced prominently by blues masters such as Bessie Smith, Leadbelly, Robert Johnson, BB King, Muddy Waters, Blind Willie Johnson… So I would say the blues.

Pierre: Apart from the blues, we have a lot of different influences like the stoner scene, the late 60’s and early 70’s rock music like Jimi Hendrix, Led Zep, Janis Joplin and even the early Pink Floyd, the revival scene like The White stripes, Rival Sons and The Black Keys, some elements of soul/funk music and a bit of desert-blues like Tinariwen.

The Funky Queen EP has just been released through Napalm Records; how did that link-up come about?

Marcella: During summer 2015, we were invited to play in Germany at «Out and Loud» festival. Napalm was there as they opened the festival with a Napalm label night. Some of Napalm’s bands played there and they found us a slot to play. That was our first contact. We stayed in touch with them for a year and last summer we sent them our new songs. They liked it and Napalm offered us a deal.

It is being described as the band’s debut EP but am I right in thinking it has a self-titled predecessor released in 2014 which new fans to the band will want to know about?

Marcella: Yes, you’re completely right! Three years ago, we released our very first EP. We recorded it a couple of months after having started the band because we wanted to play live shows as soon as possible. This first EP is now sold out.

How would you say the Black Mirrors’ sound has evolved over its first handful of years?

Pierre: The basic sound didn’t change that much. Since the beginning, we wanted to create a music which will be a mix of all our influences. In 2013, our songs were already a mix of blues/rock, stoner and a bit of psychedelic music with a vintage approach.

But if we speak of the sound more specifically, the guitar sound became wilder with the years and our first drummer left the band. He was replaced by another one who came with his sensibility, approach and specific sound. So these two elements influenced a bit the final result.

With all artists, there is a specific intent fuelling their first steps. What was the driving force for Black Mirrors?

Pierre: Nothing more than being happy and thankful to play together. We are friends for such a long time and we’ve started the band to enjoy creating music together. We never had a big statement like « We want to play this kind of music, like very pure blues or a specific kind of stoner. » It was always about playing anything we had in mind without thinking too much. Maybe it’s the reason why there’re a lot of different influences in our music.

Listening to the EP there feels like there is a strong collaboration between the band in its songs birth and character. How does the band’s songwriting generally work?

c, c Nanna Dis 2016

Pierre: Most of the time I create basic ideas like a riff or two and show it to Marcella. We work together on a first version of the song, she composes her vocal part and we work on a basic structure. We show this draft to the band. With them we give the tune his final form. We often create new parts, remove others; jamming around the sound. Because of all this process, the song’s final version is sometimes totally different than the first idea.

Can you give the readers some insight to the background and themes to Funky Queen?

Funky Queen, which opens our EP, is about addiction. Funky Queen is the queen that confronts everyone with one’s own demons.

The second song is Kick Out The Jams, a MC5 cover. We wanted to put it on our first EP as it’s represent very well the general energy of our music.

The Mess is a song about messy feelings you get after you broke up a very bad love relationship. Sometimes, you’d rather not see things than to be destroyed for your entire life.

And finally, Canard Vengeur Masqué to end up…It is a song who talks about the missing of one of your parents after a divorce, the way you can feel forsaken in this situation as a child.

Funky Queen has a great cover to match its sounds. Who is behind the artwork and indeed the band’s excellent logo?

Pierre: It’s Sebastian Jerke, a German artist who worked with My Sleeping Karma and Colour Haze to name a few. We really like his job. We got in touch with him and he appeared to have several great ideas for the artwork.

Apart from the likes of Front 242, dEUS, Soulwax, Enthroned, Triggerfinger, Steak Number Eight, and the excellent King Hiss, I cannot say we know too much about the Belgian rock scene. It is a healthy place right now, especially in its underground?

Well, it depends if it is in the French speaking part of Belgium or the Flemish part. We think Flanders gives more chance to underground music. Just by seeing bands you named, most of them are from Flanders. We are coming from Wallonia where the rock scene is a bit shy. Unfortunately, you barely see a rock band as highlight on a festival poster in Wallonia.

What is next in the immediate future of Black Mirrors?

Going on tour with Horizont and ’77 and record our full length album.

Once again our big thanks for sharing your time with us.

Check out our review of Funky Queen @ https://ringmasterreviewintroduces.wordpress.com/2017/03/03/black-mirrors-funky-queen/

http://www.blackmirrorsmusic.com/   https://www.facebook.com/blackmirrorsmusic   https://twitter.com/BlackMirrorsmus

Pete RingMaster

The RingMaster Review

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Slumlord Radio – Tokyo Roadhouse Sonic Sex Castle

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Just as likely to steal the final thrusts of your sexual exploits as they are your passions, US band Slumlord Radio show with their Tokyo Roadhouse Sonic Sex Castle EP that they know how to create magnetic brawls of dirty rock ‘n’ roll and abrasive provocation, songs which serve up a diet of irrepressible and thrilling sonic fire which exploit and taunt the senses and psyche. The five track release is a greedy and unruly confrontation but one that hunger was bred for. Raw and unafraid to rile up its listener just as gleefully as it pleasures them, the release is a raucous treat offering salacious pleasure and unmistakable promise.

Based in Grand Rapids/Flint, the trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer David Flynn, came together in 2010. Their scuzzed up, filth caked form of rock ‘n’ roll soon had attention locally as the band merged garage rock with sludge like essences whilst other whispers like hardcore, metal, and hard rock made their contribution, a sound best described as unbridled punk ‘n’ roll. It is an encounter which arguably is employing existing sounds and invention but turns it with their invidious alchemy into a distinct devilry of their own. The new release follows the well-received The Cats Pajamas EP and shows the band is moving very much in the right direction to earn themselves a potent place in current garage rock circles. Released via Silver Maple Kills Records earlier this year, it has already awakened a great many to the band, which is no surprise as the release stirs up the senses to give satisfaction a full meal.

Fort Knox opens things up with tall attention seeking fire spawned hooks soon accompanied by greedy riffs, probing rhythms, and squalling vocals. The slightly insidious nature of those early rising sonic flames is a delicious niggling temptation throughout the song and never meanders from their spicy temptation whilst around them the song flexes sinews and rapacious energy to engage the rest of the senses and thoughts. At times there is a mix of Kyuss and My Red Cell launching its suggestiveness within thoughts whilst a breath of Mudhoney is not far away either. It is an excellent start with Call Me Chief soon by its side, the song another caustic haze of punk intensity and garage rock fuzzy veined by a throaty bass croon which smells as predacious as it sounds. Its mix of slow stomps and frenetic bursts is pure contagion, the smouldering tease of the ear and outright sonic turbulence a riveting and pleasing union which leaves the appetite drooling for more.

Up next Old Zilwaukee walks in with a mesmeric shimmering to its air and hoarse breath to its core, vocally and in the scarring riffing once the track is in full stride. The gait switches from reflective musing to expressive tempest across the track and though it arguably takes longer to seize the emotions compared to its predecessors, the wilfully creative confrontation emerges just as vital and impressive, the guitar solo especially inflammatory.

As Second Hand Tank takes its time to scorch the ear there is a Psychedelic Furs lilt to the caress, especially vocally and through the bass suggestion, though once into its almost corrosive blues kissed sonic storm suasion you are more in the MC5 and Social Distortion territory. Without quite sparking the heights and success of the previous tracks, it still leaves you appreciating and enjoying the grunginess and carefree attitude of its charm.

The title track brings things to a roguish conclusion with infectious enterprise and variation. The most inventive of the tracks on Tokyo Roadhouse Sonic Sex Castle but again not as irresistible as the opening triplet of bruises, it nevertheless has a pull which has feet and voice playing their part in the fun.

Slumlord Radio is a band still finding its unique sound and stance one suspects but if the release is a portent of things to come; they will be a force we will be hearing plenty of. For promising emerging garage rock with a layer of dirt you just hanker for, Slumlord Radio is well worth taking a listen to.

https://www.facebook.com/SlumlordRadioMI

8/10

RingMaster 09/09/2013

 

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The Sea – High On…

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There is always a twist of excitement when approaching a new release from UK rock band The Sea, fresh anticipation which has yet to be let down across their singles and especially their excellent album of last year, Rooftops. New EP High On… continues the immense satisfaction continually bred by the band though this time it offers their greatest moment yet in power, passion, and fiery invention.

      High On… is a muscular release which explores the rock and blues elements which was sniffed at on the eclectic Rooftops, though there is still a place for melodic charm and emotive enchantment. Like its predecessor the EP is unafraid to mix up its sound and ideas to keep intrigue and captivation as lively as the energetic storm which cores the release. Consisting of brothers Alex (vocals, drums) and Peter D’Chisholme (vocals, guitar, piano), the duo from  Newquay, Cornwall has leapt upon the passions of rock pop with an insatiable enterprise and fire which is hungrily devoured by their growing legion of fans worldwide. Since forming in 2007 the pair has ignited Europe, US, and Canada with their fevered stage performances, whilst drawing potent acclaim for their releases including debut single Love Love Love, first album Get It Back, and of course the mighty Rooftops, all like the EP released on their own Lusty Records label. The band has a desire and greed when it comes to music which translates into their thrilling sounds, a drive which sees them relentlessly gigging including sharing stages with bands such as Muse, The Kills, The Enemy, and James Morrison, and overcoming in 2011 a freak surfing accident which saw Alex breaking his neck. Surprising all, especially as he faced the possibility of being unable to even walk again, the drummer was back touring within months and as the new release shows is back more formidable and feisty than ever.

High On… finds The Sea igniting their passion for dirty rock n roll with influences of the likes of MC5, The White Stripes, and the 165038_474051125966824_242022999_nStooges, all essences which make strong whispers across the EP though the band undoubtedly trigger their own unique presence through it. It also sees the band stripping down their sound to one guitar, a set of drums, and impassioned vocal squalls, the result a fire as raucous and commanding as anything on their previous releases with their more expansive armoury, but with an intensity and contagion which with ease declares the release as the best thing from The Sea yet.

Opening track Letter Bomb takes mere moments to ravage the ear with towering rhythms from Alex and a blaze of sonic persuasion from the guitar of Peter. It is an incendiary start which though settles into a less demanding gait with picky riffs and tempered beats once into its stride still, it agitates and excites with a sinew of aggressive intent. The vocals of Peter equally flame upon their entrance to offer a scintillating glaze to proceedings whilst the combination with all elements burning eagerly for the chorus is a brawling treat leaving senses and heart wrung out with passion. At its heights there is also a definite Rage Against The Machine intensity to the breath of the song with the blues gaited guitar solo raising temperatures further.

The following Run steps back on the directness though still refuses to bring a calm gait to its encounter. It is a hard rock/blues inducement with a furnace of emotive fire swaggering through sounds and vocals. It does not quite live up to the stunning opener but with the guitar offering a sure temptation and the energy of the track merciless in its smouldering soaking, you can only bask in its impressive heat.

The EP is, as is expected from the band, a diverse creature even within this heavy rocking direction bloomed on the release, Number One a gentle rock croon musically and vocally which barely makes a minute and a half in length yet still raises hairs on the neck in its brief presence, another magnetic twist of sound. Its short stay is more than just an interlude and makes a perfect lead up to the best track on the EP, Get Up Stand Up Die. The song is a monster of a rock tune with again the drums of Alex caging and igniting the senses with a rapid storm of beats to start things off before the guitar lays a sturdy rub of coarse and infectious riffs into the mix. It is an explosive fury of contagious confrontation which leaves one exhausted and grinning from ear to ear, even if like its predecessor the track is too damn short, but then again the best punk rock tracks usually are.

Completed by another triumphant tempest of exhausting energy, massive beats, and vicious guitar enchantment in the ferocious treat Lost It/ Never Had It and the pulse pumping slow burner Wednesday Trap which is as near to a rock show tune you could wish for and get wonderfully away with, High On… is another sensational creative bomb of a treat from the best emerging rock band in the UK right now. The Sea is destined to the greatest heights but why wait when there is this mighty feast of sound to enjoy right now.

https://www.facebook.com/theseauk

http://www.theseasounds.co.uk

9/10

RingMaster 09/04/2013

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Kingsize: All These Machines

The multi flavoured debut album from LA rock band Kingsize is a mischievous and intriguing little creature. Consisting of ten vibrant and thoroughly engaging tunes, All These Machines made this review one of the longest written time wise. The lengthy time was taken up spending ages trying to work out what and whom parts of the diverse songs sounded like. Surely the same with 99% of the releases I hear you say and agreed but with Kingsize they do not really sound like anybody, their compositions and sounds unique and distinct but like a seductive perfumes on other beautiful women fragrances of other artists would impose themselves before swiftly passing in a breath. This admittedly added to a deeply enjoyable and satisfying date with a long awaited and thrilling album.

L.A. based Kingsize first came to notice with their 2008 EP’s The Good Fight and The Bad Night. Between them they brought twelve captivating tracks which instantly made one stand up and take notice with a smile on the inside. Before then the band almost did not come to be as guitarist Cary Beare was planning to leave town disillusioned with things in search of his musical dream. Right before he was to leave old friend drummer Jason Thomas Gordon called him up to see if he wanted to jam. Thankfully this led to the duo impressed with what they created, to talk about forming a band. Agreement was reached but only on the promise that Thomas Gordon provided the band with the lead vocals, Beare loving what the drummer brought to their music and knowing no one else would do. Eventual agreement was the beginning of Kingsize, an initial duo added to when they heard bassist Matt DelVecchio in another band and told them “We’re stealing your bass player.”

Since their two EP’s the band has evolved into an important force on the Southern California music scene, as well as having three songs in popular videogame Rockband 3, writing the theme song for the CBS sitcom Gary Unmarried, and having a trio of songs included on the soundtrack of Philip G. Flores’ award-winning film The Wheeler Boys, not to forget their track Sweetheart, I’m Only Stopping to Start being placed the new Robert DeNiro movie Freelancers co-starring Forest Whitaker and 50 Cent. Now with finally the release of their excellent debut album, 2012 looks like being the year Kingsize steps out boldly into the wider world.

All These Machines opens with the high tempo enthused rock of Switch, an invigorating follow up to earlier songs like Miss America and Elevator, all insatiable rock music fused with the energy and thrust of garage punk and dirty rock n roll. The band has always been strong songwriters with an instinctive grasp on how to captivate their audience but within the first song there is already an apparent maturity and tighter feel to their music something the remaining tracks more then back up. With guitars that seek and rile up the heart and rhythms from bass and drums to get the pulse racing the song is rock at its easy best.

Following track Dead Broke continues in the same vein with air punching riffs and eagerly stomping rhythms. The garage feel continues to permeate and the flitting thoughts of other bands are in full swing. Essences of the likes of MC5 and Eddie and The Hot Rods come though then tastes of The Cars and Television, eclectic and quickly dissipating the spices are all there.

The variety of the album spreads from this point, with the pop orientated hypnotic Overdone, the soulful grace of The Technocratic, as well as the emotive ballads of the title track and the closing We’re All alcohol with its wonderful choir parts, all leading one by the hand down bright and distinctly different avenues.

The opening duo of songs excites deeply but the highlight of the release is Heart Surgery a song that brings Tom Petty, Tom Verlaine and We Are Scientists into an infectious twisting of the senses. With guitar melodies that burst like sunspots and a murmuring bass behind the great emotive vocals of Thomas Gordon, the song is a gem and glows brighter still with the classic rock fuelled solo Beare unveils. It is given a run for its money though by the Bowiesque Ambien with its Jean Genie driven stomp through the ear to make a quartet of songs the album is a must have for alone.

All These Machines is a party for the senses brought with thoughtful and well crafted sounds and invention. Kingsize are here and waiting your attention, it would be rude to make them wait surely. http://thisiskingsize.com

RingMaster 30/03/2012

 Kingsize are also involved with the wonderful Music Gives to St. Jude Kids campaign, a project created by Jason Thomas Gordon with the sole purpose of raising money and awareness for St. Jude Children’s Research Hospital (which Jason’s grandfather Danny Thomas, founded in 1962) through music-based initiatives.

Music Gives to St. Jude Kids has already forged partnerships with artists like Sheryl Crow, Kings of Leon, and Stone Temple Pilots and has garnered the sponsorship of both Live Nation and Ticketmaster to name a few.

For more information on this great project go to stjude.org/musicgives, thank you.

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De Keefmen – Me Keefmen, You Jane (part 2)

De Keefmen are one of those bands that will hit the spot instantly or linger and request acceptance but never quite make that bridge into the heart, whatever the reaction to their distinctive and unpolished sound they are a band which defies a dismissal of their songs. The band and their music is seeded in the Dutch sixties Nederbiet sound, influencing a style which leaves the ear at times shell shocked, blistered but always happy. De Keefmen unleash rough and coarse tunes which reverberate and scrape around the senses, their melodies are caustic and vocals verging on desperate in tone but wrapped together with infectious rhythms and frantic energy conspire to make songs which excite and inspire.

Their new EP Me Keefmen, You Jane (part 2), a three track intensive plead on the ear, continues on from Be That Guy/Jane, the two songs which made up previous single Me Keefmen, You Jane (part 1). Released on vinyl via Kuriosa and digitally through Dirty Water Records, the new EP is an intense and emotively powerful trio of tracks which stir up a reaction every time they twist up the senses. The garage rock essence to the music is raw and at times feels like an aural scouring with the harsh delivery, but it is equally constantly mesmeric.

De Keefmen formed in 2008 out of the ashes of The Miracle Men who broke up the previous year. Inspired by the sixties, the line-up of vocalist/guitarist Henri Sulmann, bassist Peter Kroes, and drummer Dennis De Lange released their first single Cryin’ At My Door in their first year. To gathering acclaim further enhanced by the release of their self titled debut album, the band shifted releases between Vinyl Junkie Rekkids and Kuriosa Records, and for their following Mirror Of Time album Dirty Water Records of 2010. Following on from Part 1 from last year, Me Keefmen, You Jane (part 2) once more grabs attention with a dynamic and consuming sound which is as intense as it is hypnotic.

The songs on Part 2 take a different sideways step to the preceding release. Part 1 contained two songs offering forceful rock music with a dirty Rocket From The Crypt like sound and aggression but on this new release there is a drop in the intensity to explore an even more emotional level to their music. Opening song Wrong Kinda Place sweeps through the ear with jangling guitars and slightly more reserved vocals from Sulmann. He still drips feeling and heart from each word and phrase but the urgency is more restrained than usual though we are soon back to his full on sense of despair and anxiety on the second song Don’t Ask Me. The song is irresistible and the best on the release. It is assertive and eager, the music highly intense and enthused in bringing the vocals pleas forth with the strongest effect.

The song is completed by Anything, a track which argues its case with anxious dirty guitars and firm commanding rhythms. As with all of the songs the vocals take centre stage with the passion and emotion Sulmann musters deep from within but one should never underestimate the power and equally expressive sounds beneath his delivery as shown on this excellent song.

There is a discontent to the sound of De Keefmen and at times a crudity from the lo-fi recordings which strikes home wonderfully bringing a roughness and attitude to influences that seem to range from the likes of Otis Redding and The Sonics to The Byrds and MC5. Me Keefmen, You Jane (part 2) uses this to ruffle the senses and provoke reaction ensuring it is an EP that cannot be passed off as just another release but one that needs your attention and more.

RingMaster 05/03/2012

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Thee Exciters – Perpetual Happening

From the opening pulses of its first track, Perpetual Happening the new album from Thee Exciters grabs hold of and parties on the senses.  The experience is raucous, at times very dirty, and constantly refreshing as the UK garage punk band unleash track after track of vibrant infernal rock ‘n’ roll. The second album from the Southampton based band leaves one sweaty, energised and totally fulfilled which is all one can ask of a release though Perpetual Happening satisfies far deeper than most other releases heard in recent months if not the past year.

Formed in 2003 Thee Exciters have garnered increasing acclaim and drawn more and more to their sonic sounds via their self released debut single ‘Johnny’s Too Messed Up’ in 2004 and their releases since joining Dirty Water Records of the EP Dial ‘E’ For Excitement of 2006 and impressive debut album Spending Cash, Talking Trash two years later. Their follow up album again released on Dirty Water Records brings more gutsy fuzzed up almost primal slices of rock ‘n’ roll that sound like the bastard offspring of a beer soaked union between the likes of MC5, The Stooges with The Clash and Sham  69, with added seed from the psychotic delights of The Cramps and Reverend Horton Heat. An infectious flavouring that spurs on Thee Exciters own scuzzed up garage punk sound.

The album breaks loose with opening track ‘Dinosaur Traffic’, the track throbbing with bluesy riffs, swinging basslines and group shouts behind the brazen vocal delivery of Paul Le Brock. A delicious start toned in echo that riles up the senses for the even more impressive and excitable things to come. There is an instinctive feel towards the music that Thee Exciters make, it wakes up the raw energy within as well as in some ways give that wonderful feel of reinvented nostalgia. Though it has to be said for any bands or sounds they remind of or bring in they are mere spices within the distinct Thee Exciters feast of sound.

The fuzzy title track follows to mesmerise and pulsate within the ear, the insistent yet veiled key sound sweeping across behind the acidic guitar of Justin Cunningham a teasing element. From here the album explodes into a higher intensity and pleasure. The filth coated punk rock of ‘Flower Punk Girl’ sees the band living up to its name thrusting irresistible original UK punk intent with traces of Stiff Little Fingers and Subway Sect. Its raw, dirty, and with the drums and bass urgent and forceful totally outstanding.

The album is highly consistent but certain tracks stand out more as in the again punk fuelled garage rock gem ‘Paint Me’. As with all the tracks really it is impossible to fully tag the sound fully for in this alone there are plenty of psychedelic tones, psychobilly blooded veins and more running through the punked up rock ‘n’ roll, the diverse elements combining to make the band as exhilarating as they are. The album’s two other classic tracks are the same, varied and irrepressible. ‘Hang Loose’ may not have the most original sixties sound but it is an infectious burst through the ear to sweep one up in its distorted melodic arms, and make it impossible to resist its eager hooks and intention to ignite the senses.

The best track on Perpetual Happening is easily ‘Devils Make Up’, pure hypnotic psychobilly. The track gyrates with insistent rhythms, voodoo spawn riffs, and seedy barroom piano, and with essences of The Cramps, Meteors, and Th’ Legendary Shack Shakers oozing throughout, the album is a must listen from this track alone, though it is backed up by plenty more impressive tracks like the psychotic ‘Mirrors Never Lie’ and the uncomplicated and direct glory of the blues punk ‘Killing You’.

Perpetual Happening is masterful and a deep pleasure that whips up a storm as it winds itself into the senses to incite and ignite more pleasure than can be found in a blues and spirit fuelled whorehouse. Thee Exciters are back with a bang, rejoice and enjoy yourself with Perpetual Happening.

RingMaster 31/01/2012

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