Magoa – Imperial


If nothing else, these past couple of years have revealed that the French metal scene is at a striking high if maybe still not truly recognised outside of its national borders. That might be on the verge of changing if it continues to persist in producing bands and releases like Magoa and their new album Imperial. An outfit established within the French metal underground, the Paris hailing band has unleashed a proposition which just demands the richest attention.

Imperial sees the band’s tapping into and unleashing a brutality and a grouchily uncompromising attitude not as vocal in their music to date; a coincidence that the band kept everything about its creation in house? It is emotionally and physically raw yet woven with an imagination which makes its grievous groove infested sound stand out from the crowd. Imperial is a cauldron of varied strains of the fiercest metal genres honed into a virulence which infests ears, appetite, and psyche alike.

The successor to their well-received second album Topsy Turvydom of 2013, Imperial swiftly hints at something having stirred within the Magoa heart and creativity which eclipses all before with each passing minute let alone song. It opens up with its title track, a rousing call to arms which drifts in on a sonic mist broken up by warlike strikes. A melancholic melody slips into the brewing climate, vocalist Cyd Chassagne close behind sharing his dirt encrusted snarls as that lone melodic lure begins to flame with greater intensity within a growing tempestuous air. As grooves begin winding around bruising rhythms, the track rises to real anthemic heights, its roar of a chorus as defiant as it is provocative and contrasted superbly by the beauty of keys and mellower caresses of emotion.

It is a potent start which is soon over shadowed by the snarling brutality of Resistance, grievous riffs and senses shuddering rhythms to the fore. The track is superb, an angry beast of a proposal but one unafraid to show melodic elegance and sonic grace like oases within its vicious onslaught. As its predecessor, the song is a spirit raising anthem which arouses body and emotions before Sailors swings in with its own host of irritable beats and riffs, they soon evolving into one ridiculously infectious and addictive incitement. A great blend of vocal ire is matched by the array of textures within the track’s fiery sound, guitarists Vince and Drayton spinning an imagination snaring web of intrigue and suggestiveness, the bass and drummer  Martin’s lethal swipes antagonistic weight to be feared and embraced.

pochette_RingMasterReviewThere is something familiar about the encounter but an indefinable essence which just spices things up here and within tracks like the following heavyweight swing fest of Kill Us. It descends upon the senses with raw aggression and intent, taking them on a groove spun, melody enriched ride of fearsome yet anthemic savagery which just sparks the instincts.

Through the haunting melancholy of Merge, a less imposing affair but just as emotionally intense as cleaner vocals and resonating rhythms court piano nurtured melody and electronic atmospherics, and the brief and equally impacting Remember and its reminder of conflict’s casualties and protagonists, Imperial strikes another stirring chord with both setting up emotions for the thumping roar of Faith. Like a reassuring beacon within the more murderous aspects of the album, it is pure contagious revelry with its own truculent presence.

The calmer nature of Afterglow follows uncaging a nu/groove metal trespass which bellows with warrior strength and countenance but equally engages in less bruising exploits which further entangles the imagination. Sonic and melodic invention is as prevalent as another great mix of vocal confrontation, all topped off by deliciously scything strings.

Physical barbarism and emotive reflection unite within Endlessly next, the track a mix of bloodlust and warmer enticement, emotionally and musically, with the former holding the reins throughout, while Pray for Us is an emotion driven sonic clamour which whilst maybe lacking the spark of other tracks before it, leaves ears enjoyable ringing and appetite hungry for more which the bewitching Untouchable delivers with its low key but atmospherically thick and emotionally commanding serenade. Cyd’s clean vocals glide over the senses, the gentle haunt of keys and guitar fingering the imagination as the song resonates in thoughts as darker clouds loom on the back of heavier lumbering rhythms.

The album ends with the ruthlessly addictive and mercilessly anthemic The First Day, a track which will either have you cowering or raising a fist in defiant unity while summing up everything impressive and compelling about album and the new character of Magoa’s songwriting, invention, and inescapable sound.

If Imperial came from a Lamb Of God, Slipknot, or In Flames people would be raving about it; hopefully they still will just with the name Magoa upon their lips.

Imperial is out now across most online stores and @

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

The Last Ten Seconds of Life – The Violent Sound


Having beat up on and seduced the US metal scene, Pennsylvania hailing The Last Ten Seconds of Life are abut to do the same to a global attention with new album The Violent Sound. It is a success not too hard to imagine almost expect as the release unleashes twelve brutal alternative/nu/groove metal furies that just grip and excite ears and imagination. The band’s sound has plenty more in its arsenal of flavours and temptation but a mix of Korn, Mudvayne, and Britain’s own Anti-Clone is a fair indication to the downtuned tempest the Mansfield based quartet uncage.

Formed in 2010, The Last Ten Seconds of Life has risen through the local and national US metal scene, earning a potent reputation for their fearsomely impressive live shows and releases like debut album Know Your Exits of 2011. The past year though has seen the band evolve their sound into a whole new and striking adventure with new vocalist John Robert C. coming in, his irritable grouchy growls and impressive broader versatility seemingly, on the evidence of The Violent Sound, just bred for the band’s evolution in songwriting and imagination.

Engineered by Grant McFarland and produced by Carson Slovak (August Burns Read, Texas in July), The Violent Sound is the first offering from the new line-up and pretty much goes straight for the jugular as Little Black Line opens things up. Its initial lure though is the clean tones of John Robert, enticing within brewing discord honed tempestuousness which blossoms into a predatory stroll that as good as stalks the senses. The harsh rhythmic tenacity of drummer Christian Fisher is bound to the barbarous groove and tone of Mike Menocker’s bass, both a formidable invasion of ears as the guitar of Wyatt McLaughlin creates a sonic smog of portentous temptation.

Though the song never brutalises, its intent and weight takes no prisoners, setting the listener up for the intensive examination of The Drip. That Korn-esque texture to the band’s sound swiftly seduces ears within the encounter, interrupting a primal trespass equipped with scything grooves and vocal antagonism around rhythmic animosity. The track is glorious, another aural predator further impressing in melodically bred moments of emotive resonance before Bloodlust lives up to its name in tone and emotion. It is a savage uncompromising affair but again one with twists into unpredictable and sinister passages which even if only brief draws the imagination further into the violating tempest.

cover_RingMasterReviewThe following Six Feet is just as diverse in its attack and simply imperious, its volatile climate and grievous intensity skilfully contrasted by the melodic and harmonic swoops upon ears; the two colluding in bewitching espionage before the track is back devouring all before. As much death metal seeded as any of the flavours previously suggested, the track is a carnal incitement igniting an already keen appetite with the album’s title track reinforcing its increasing hold. The Violent Sound roars with sonic spittle lying upon vocal ire as rhythms pounce with animalistic predation, a vicious stalking leading to the calmer melodic and cleaner vocal enterprise of the band which is as virulently infectious as anything escaping the crushingly relentless ferocity.

A Marilyn Mansion air accompanies the flirtatious swagger of Casanova, an irresistible track with all the grooved swerves and salacious moves of a venomous pole dancer while Bag of Bones worms into the psyche with a niggling groove prone to discord fuelled expulsions of sonic unpredictability. Around it, the track brews another fury which buffets and abuses the senses, every swipe and incursion eagerly welcomed as the track swings like a hungry hound with a creative deviousness just as eagerly abound within successor Switch, a volatile fusion of metal and heavily boned rock which either licks at the psyche like a demonic lecher or presses in on the senses like a murderous vice.

That sanguine essence is even more prevalent and zealous within next up Blind Faith but equally the band’s harmonic imagination is a rich lure, so much so that you do not know whether to bow to its seduction or run for the hills, the former ultimately the only reaction to the brilliant protagonist.

It is a success and creative endeavour matched by that within Wise Blood, The Last Ten Seconds of Life again creating a concussive, sublimely seductive siege of ears and senses, trapping the imagination with exotic grooves and spicy melodies amidst vocal dexterity before Social Suicide casts a paradox of contrasting textures which simply captivates with ridiculous ease.

With the groove entangled, sinisterly shadowed Last Words completing the ferocious proposition, The Violent Sound is destined to push The Last Ten Seconds of Life firmly into the broadest metal scene. If not, there is something seriously wrong.

The Violent Sound is released by Siege Music on October 21st.

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Outright Resistance – Me Vs I EP

Outright Resistance

Outright Resistance

There has been a following roar of impressed voices and recommendation to the ascent of UK metallers Outright Resistance within the UK metal scene and especially over recent weeks with the release of the band’s new EP Me Vs I. It is a defiant and aggressive growl of raw groove woven metal often openly suggesting inspirations from bands such as Lamb of God, Chimaira, Stone Sour, August Burns Red, The Agony Scene, and Pantera but unleashing its if not fully unique certainly own kind of irritable sound.

Formed in 2011, the Stevenage bred band soon had debut EP Don’t Eat My Organs stirring up awareness whilst hitting the local live scene with a raw passion. Shows with the likes of Hacktivist and TRC were including in a host of gigs across Hertfordshire, Bedfordshire, Cambridgeshire, and London, all adding to a growing reputation which was invigorated further by last year’s Poveglia EP and especially now through Me Vs I, with being one of six finalists in the 2015 London arm of the Bloodstock Metal to the Masses competition in between.

Me Vs I opens with its title track, a short piece of drama which finds more sense and potency once having journeyed through the whole EP and its honest no punches pulled look at prejudices and ignorance among other things. Maimed In Chelsea is the next proposal and boy does it start off with a wallop, riffs nagging the senses before being quickly joined by thumping rhythms and the grasping roars of vocalist Paige Lee. In no time it is into a grouchy stroll with Pantera-esque grooves entangling harsher rhythmic predation. Backed by the band, Lee continues to orchestrate the venomous nature of the track with her imposing vocal trespasses, the guitars of Michael Worsley and Joe Jacobs creating a contagious web of grooves and riffs for an outstanding full start to the EP which just becomes more addictive and viciously dynamic with each passing minute.

me-vs-i-artwork_RingMasterReviewProve Them Wrong steps forward next, displaying an even eager desire to consume the senses as riffs and the scything beats of Michael O’Neill descend. Soon displaying a more familiar heavy metal nature to its onslaught and melodic toxicity, the track is a hungrily enjoyable canter with the bass of Chris Everett a predatory incitement alongside the growling antagonism of Paige. Missing some of the extra sparks which ignited its predecessor, the song nevertheless leaves a heavily satisfied appetite behind before the outstanding Pain grabs attention next. From its first rhythmic coaxing there is a belligerence and defiance to the character of the song, a tempestuous attitude which fuels riffs and voice but still content to share its moments with spicy melodies and electronic intrigue across an increasingly rousing and enjoyable encounter.

An echo of Paige’s own personal journey having to deal with transphobia, Gee, Dysphoria challenges as it roars, rhythms a concussive assault and riffs a relentless incursion on the senses as vocals uncage an animosity toned but plaintive call for understanding. With melody spiced grooves and fiery enterprise straddling its intensive outpouring of the heart, the song demands attention being soon matched by successor Destiny Is All and in turn outshone by the closing ravaging of Take The Blame.

The first of the two stalks the senses; riffs again a niggling proposition as beats cantankerously swipe and vocals crawl with similar intent over song and listener while the second is a thrash/death metal spiced tempest as virulently catchy as it is violently imposing and bound in short but flavoursome grooves. Standing alongside Maimed In Chelsea as the EP’s best moment and showing the most adventurous nature of all, the song is a fine end to a thoroughly enjoyable release.

Me Vs I lives up to the promise and potential suggested by plaudits towards the band so far, suggesting greater things to come from Outright Resistance while leaving keen enjoyment.

The Me Vs I EP is out now @

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Dead Hands – Nobody Exists on Purpose EP


Just over a year ago, we were taken by and aback by the noise infested fury of British band Sexwolf! and their debut release, the Hangin’ With The Boys EP. Our submission to their senses devouring sound was followed by their demise in the first half of this year. It was a frustration though quickly replaced by intrigue as three quarters of the band, linking up with one half of fellow Midlanders A Werewolf and a second guitarist, emerged as Dead Hands. They have just released debut EP Nobody Exists on Purpose and fair to say any gap left by the loss of one band has been more than filled by a new encounter which sears ears as it excites them.

Creating a maelstrom of fiercely infectious noise from texture reaped from the likes of mathcore, hardcore, grind, and numerous other punk and metal based savagery, Dead Hands have taken little time to stir up attention and it is easy to hear why with Nobody Exists on Purpose. The six track violation is an irritable tempest of abrasive sound and toe curling intensity delivered through an invasion of twisted hooks and demented grooves within a sonic savaging fuelled by some viciously catchy enterprise. It is merciless, at times painfully inhospitable, and constantly a joyously addictive abuse of body and senses.

It all starts with the band’s recent acclaimed single Open Bracket. Straight away guitars are squirting sonic toxicity, tangy riffs soon joined by the heavy insatiable rumble of bass and the scything viciousness of drummer Jenks’ rhythms. It is intensive furious stuff just as infectious as it is barbarous with Richard Phillips spilling his lyrical and vocal venom into the compelling mix. All the flavours mentioned above and more are in open sight within the furious turbulence, all adding to the thick lure of the track.

It is a sign of things to come within the EP, the following Elephants Crush People just as crabby and uncompromising and just as fascinatingly littered with unpredictable trespasses, inventively virulent hooks, and ear catching twists. A mix of The Chariot, Every Time I Die, and Dillinger Escape Plan is an obvious but maybe closest equivalent to the Dead Hands roar with additional Cancer Bats/Brutal Truth hostility.

Diving Board (Jack Christ-Ho) instantly and fractiously devours and punishes while gripping the appetite with more virulently contagious enterprise, it all springing from the Jenk’s initial rolling rhythms. Guitarists Niall Jones and Dabby Gough in turn lay their creative snares, further unavoidable traps as the song overwhelms and sparks body and mind into lustful responses. Of course this is not going to be for everyone but if noise does not annoy but inspires than Dead Hands have the ability to raise the strongest ardour through songs like this and its successor Buck Angel’s Challenging Movies. Arguably the catchiest proposal within the release, the track is a quarrelsome stomp led by the deliciously testy tone and grooves of Daniel San Mogg’s bass, its truculence matched by that of the guitars and vocals. Moments of calmer, post punk lined imagination only adds to the thrilling character of the song, the pinnacle of the EP with ease.

The closing pair of 7 Days (of Craig David) and Close Bracketté finish off Nobody Exists on Purpose, the first a mouth-watering ear plundering wall of heart bled enmity and sonic rancor while the last blasts and tangles ears in a tetchily red-blooded incursion of technical and emotional fury. Both tracks also come equipped with even bolder invention and experimentation and it is no coincidence that as each song gets braver the EP only gets stronger and more irresistible ending on a rousing high.

 Nobody Exists on Purpose is superb, a triumph in many ways with its seeds in the previous exploits of Dead Hand members but blossoming into not only something totally new to them but distinct to pretty much anything else out there. It is a must!

The Nobody Exists on Purpose EP is out now @

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

1000Dead – Self Titled


You know there is something happening and worth keeping a close ear on when a record keeps drawing you back and back. The self-titled debut album from Greek metallers 1000Dead is one such proposition. An uncompromising fury of thrash driven multi-flavoured metal, the eleven track assault on the senses constantly grips attention across its growling mass of highly satisfying enterprise. It is a mix of the familiar and of the freshly imaginative and as we have found an encounter easy to get a firm appetite for.

Formed in 2013, 1000Dead hails from Rethymno, Greece. Within their first year, the trio had released a 3-song promo (Promo 2014) which quickly drew favourable reactions and attention. Live the band has also drawn plaudits, sharing stages with the likes of Sabaton, Flotsam & Jetsam, Ravencult, and Wolfheart many others over time with the past months of 2016 seeing the creation of the band’s first album.

Mixed and mastered by John Leledakis, the album opens up with Lying Through Teeth and a fiercely irritable growl from guitarist/vocalist Nick Marinakis. Within a breath, the song is rampaging through ears, thrash bred riffs and thumping beats as merciless as they are inviting with the bass of Peter Leledakis an ear pleasing twang fuelled groan. The deeper into the song it takes the listener the broader its weave of sound and array of hooks and spicy grooves, that initial tempest of sound still the driving force with the addictively nagging  beats of drummer Alex Mouratidis steering the rage as Marinakis grouchily bellows.

The following Unveil Hatred is just as formidable and quickly compelling, though it is swifter into its melodic variety than its predecessor. Its heart is still predatory though, and surges with relentless venom throughout. A sudden drop into a creative maze of unexpected avant-garde imagination is delicious but too short and sadly not repeated while a slower atmospherically hued passage is a less satisfying detour but does little to reduce the enjoyment of the predominantly savage track.

cover_RingMasterReviewPost-war Blues comes next, starting in the distance with a spicy hook which only sounds more flavoursome full in the ear, providing the seed for even spicier inventive grooves and stabbing riffs. Vocals again angrily sear air and ears; Marinakis’s dirty tones a pleasing contrast but equally pleasing conspirator to the emerging adventure of flavours and styles blossoming within the song. From heavy and classic metal to thrash and death animosity, the track’s textures are a fluid kaleidoscope which works really well.

The torrential assault and vicious riffery of the outstanding Bring a Knife to a Gunfight is next, its unrelenting attack littered and interrupted by scything grooves and melodic suggestiveness respectively with the rhythms of Mouratidis and the belligerent tone of the bass pure magnetism to match the imaginative tapestry woven by Marinakis’ guitar. The song epitomises the album, blending recognisable sounds and invention with a unique touch in all of the band’s clean vocals and progressive/alternative metal spiced endeavour.

The track’s gripping creative drama and bold adventure continues through the surging tempest of Noise-pain, the song employing many of the same ideas found in its predecessor within its own choleric design, scything grooves and wicked hooks a joyful proposal throughout. It provides another impressive peak in the album being matched in success and sonic prickliness by This Day We Fight. Again raw aggression and bad tempered attitude colludes with unpredictable twists and enjoyably toxic grooves to grip and feed the imagination. It is a fractious affair which only increases the draw of the album, a reward increasing song by song as each track sees band and release growing in imagination and adventure.

The initially milder climate of Unplug Me is a great coaxing into a waiting aggressive wail though the song as a whole has a more restrained rage which allows further imaginative explorations to be shared by 1000Dead before the bearish heart of their sound is back to ravage and rage within the enjoyably quarrelsome and rhythmically captivating landscape of The Oppressor Syndrome.

Through the cantankerously intrusive and creatively eventful Stonework and the senses scarring onslaught of the seriously brief Cross Section, band and album tighten their hold on before closing off with the uncompromising intensity and punkish contentiousness of Dignity… A Dying Word, one final twist of diversity in the 1000Dead sound and invention.

It is a great end to a powerful and striking introduction to 1000Dead; an impressive starter for the band to become even bolder and unique from. Looking for a label to unleash the album with, watch out for 1000Dead savaging your ears and souls very soon.

Keep up to date with the album’s release @

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

Shotgun Rodeo – The New Standard


You might suggest there are more unique proposals coming forth this year but there will be very few encounters which ignite and incite the passions as The New Standard. The six track roar from Norwegian metallers Shotgun Rodeo is as infectiously virulent as the common cold and as instinctively anthemic as any slab of rock ‘n’ roll can be.

Hailing from Trondheim, Shotgun Rodeo have been weaving riotous incidents from contagious strands of groove, thrash, and heavy metal  since 2008 which each subsequent release becoming more focused, potent, and as proven by their latest escapade irresistible. Previous EPs, Dead End Massacre (2012) and Guilty as Charged (2013) drew strong awareness of the quartet with debut album World Wide Genocide especially whipping up enthused attention. That time has seen their multi-flavoured sound become even more adventurous and diverse which The New Standard takes to a new compelling level.

From its first breath the EP sees predacious riffs and imagination enslaving grooves almost battling for attention, each earning their equal share alongside robustly eager rhythms and an overall contagiousness as opener Batshit Crazy leaps at and consumes ears. An enticing groove lined riff opens up the assault, it swiftly joined by heavy beats and broader wave of riffery amidst increasing spicy grooving. The great dirty tones of vocalist Nino Escopeta are soon there inciting involvement too as the song strolls with an aggressive almost arrogant swagger. The swinging rhythms of drummer Doomfang and bassist J.Buvarp trap attention virtually on their own, chaining an eager attention for the tapestry of grouchy riffs and sonic seduction from the strings of guitarist Don Shrediablo to further flirt with the listener within. With its chorus icing on the infectious cake, the track is the first of six which can make anyone lose all inhibitions in public view which is some feat when if like us you are someone hiding a voice which has rats fleeing towards a sinking ship.

shotgun-rodeo-the-new-standard-artwork_RingMasterReviewThe excellent start is taken up another gear with the outstanding temptings of Uncontainable. It too is a brawling stomp of cantankerous riffs and soliciting grooves lorded over by boisterous vocals while being driven by surging rhythms. Once more the band casts a chorus impossible to escape, the blend of heavy and feverish rock ‘n’ roll fuelling a kaleidoscope of spices from hard rock and classic metal to old school rock with plenty of other darker ravenous textures involved. Giving a seriously and gloriously anthemic battering to the senses, the track takes best track honours though it is persistently challenged throughout The New Standard and songs like its successor Around The Bend.

A heavier and darker proposal, the third track stalks ears while easily entangling them in more melody rich grooving, subsequently luring them into a chorus that is as raptorial as it is sublimely catchy. Shotgun Rodeo is unafraid to bring some death metal seeded shadows to their sound either, and it is that lurking hue which unites all the varying elements of the song perfectly, marked by the bestial growling of the bass in turn tempered by the broad enterprise of Shrediablo in a song which is a bit like King Hiss meeting Lamb Of God.

From one compelling moment to another as Drawing Blood From Stone takes over, it too a predatory proposition with twists into contagion loaded inciting of ears and involvement. Merging old school and modern hungry metal in one fiercely imposing captivation, the thrilling trespass of the imagination makes way for the EP’s title track. Once more grooves wrap around ears and appetite as rhythms hunt and attitude loaded vocals challenge, a combination which soon crafts its own individually surly engagement to further hook and ignite the passions.

The EP ends with the groove infected rock ‘n’ roll of Scatterbrain where the guitar spreads some southern goodness in its endeavours while rhythms provide a more fractious but no less alluring invitation. It is a rousing and exhilarating close to the EP, a slightly psychotic proposal all raw sweetness and deceitful animosity which just lights the fires all over again.

The New Standard might not be the most original thing you might come across but few bands involve familiar essences and textures in such a masterfully magnetic and seriously rousing fashion. As the release grips ears once again to say Shotgun Rodeo and The New Standard EP is a must is more than easy.

The New Standard EP is out now across most online stores.

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Indya – Strip Me Down


Having burst through ears with an introduction which as good as stopped you in your tracks, that being the outstanding single Harder Faster, British rockers Indya follow up with another highly flavoursome slice of heavily seductive rock ‘n’ roll in the shape of Strip Me Down. Their new single is a bordering on salacious web of tangy grooves and rapacious riffs guided by the temptress tones of vocalist and band founder/songwriter Natalie Indya West; an encounter which wraps its tenacious and muscular body around the senses like an erotic dancer.

The character and moves of the single in many ways echo a part of Natalie’s earlier life. Hooked on music from a young age with the sounds of her Mother’s eclectic taste in bands ranging from indya-art-strip_RingMasterReviewFree and Bad Company through to David Bowie and Rainbow fuelling a brewing passion, Natalie studied music at the Performing Arts & Technology school in Croydon before moving on to study at the Colin’s Performing Arts College in Essex. On a 50% scholarship, Natalie had to fund the remaining of school fees and subsequently worked as a pole dancer in a gentleman’s club. The single physically reflects that environment with its twists and turns whilst, as many of her songs, the dark time she also experienced at that period of her life is equally evocatively touched.

With a touch of the now demised Karn8 to its personality, Strip Me Down is instantly a lure of grooved temptation, the guitar of Maxime Raguideau-Obadia weaving a seductive yet invasive entangling of ears as the stalking rhythms of drummer Andrea Rapisarda prowl hand in hand with the rapacious groan of Raymond Tagnola’s bass. There are many familiar textures at play within the drama honed song but all with freshness and an imaginative spicing which magnetically slips in with the band’s own invention.

Their first single stoked the fires of attention towards the 2015 emerging outfit; the Dan Baune produced and James Lerock Loughrey mixed/ mastered  Strip Me Down now keeps that blaze burning very nicely whilst showing another flavoursome flame to the rich body of Indya’s rock ‘n’ roll.

Strip Me Down is available now.

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright