Tiger Lilly – The Story So Far

Swiftly enamoured with the new single from British singer/songwriter Tiger Lilly, we thought we would rather than focus on one slice of goodness take a full look at the album it masterfully concludes and it proved to be a wise and highly rewarding move. The Story So Far brings together a collection of songs echoing her creativity and releases of the past eight years led by that new single, Broken Glass. It is a ‘best of’ offering in many ways but also a highly tempting introduction to new ears and keener attention of one captivating and imaginative artist.

Named at birth Dani, the Tiger Lilly name began as a consequence of being told she was “too dark to be Wendy” when playing Peter Pan in the playground, being tagged as Tiger Lilly. It was just one moment in her experiences of being bullied at school, one spark which led her to write about her thoughts and feelings in a diary at home whilst listening to music which in turn evolved into poetry and lyric writing to release her over whelming emotions and despair. The ability to share and expel the rawest most honest emotions has given a power to her music which is easy to connect to for whatever reasons which goes hand in hand with her want, need, to help others though music and her Music & Mental Health Awareness workshops which Tiger Lilly takes around the country to talk about subjects close to her heart; bullying, depression, anxiety and living with Borderline Personality Disorder.

Recently becoming the official Artist in Residency at The Westbury Hotel in Mayfair, the Slough hailing songstress creates a tantalising mix of rock, indie, and pop which never fails to surprise and tempt certainly on the evidence of The Story So Far. The album opens up with Chasing Ghosts and immediately has ears transfixed and appetite licking lips as an initial guitar strum is joined by Tiger Lilly’s magnetic voice. An eager catchiness is just as swiftly there teasing attention before the song blossoms into a bold and rousing rock stroll. There is an instinctive power to the sound and energy, one equally bound to passion delivered words but also an unpredictability which only adds to the creative drama and compelling temptation.

The track is superb, a glorious start soon matched in the mellower but no less potent Promises. With a slither of Americana in its melodic sway, impassioned rock in its own highly persuasive roar, the song hits the spot dead centre before Silence is Golden swings in on a melodic canter. There is a Pretenders-esque hue to the tantalising track, a whiff of Fleetwood Mac too as it dances on the senses into the passions.

Three songs in and you just know you need to hear more, an appetite only rewarded in return by the flirtatious antics of Throw Me A Line and the more fiery heart of Over, both taking ears and imagination by boisterous hands. The first is an indie rock tango, every rhythm a mischievous incitement and hook a teasing invitation as the tones and expression of Tiger Lilly enchants with passion, beauty, and energy. Its successor has a more restrained touch to its also lively enticement but energy replaced by a more incendiary intrigue and atmosphere as it bares its soul.

Physically calmer waters are dipped into by Green Eyed Monster though its heart and emotional climate borders on lava-esque as another country like breeze colludes with melodic rock instincts before the following Army provides a plaintive plea with its own emotion arousing crescendos.

Cradled in the emotive poetry of the piano, Tiger Lilly seduces ears and thoughts within New Year next, its melancholic grace and lyrical hope a warm hug while Woman simply bears its heart with melodic elegance and emotional fire. Both songs simply get under the skin though each has to bow to the majesty of closing track and that latest single, Broken Glass. Instantly there is a thicker intensity of shadows; imposing essences skirting voice and melody from the dark corners of the track but held at bay by the beacon of light in keys and voice. It is a highly evocative and magnetic encounter providing the perfect way into the creative and reflective heart of Tiger Lilly.

The album, through track order, is set up to have you rocking and dancing then emotionally embracing and reflecting with never a moment bringing a decrease in pleasure and two way intimacy. The Story So Far has been a captivatingly honest adventure with the next exciting chapter just beginning…

The single Broken Glass is out now on iTunes.

http://www.tigerlillymusic.co.uk/    https://www.facebook.com/tigerlillyofficial    https://twitter.com/tigerlillytweet    https://www.instagram.com/tigerLillyofficial/

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

The Kreoles – Psycho

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Psycho is the new album from Italian melodic metal/ alternative rock quartet The Kreoles, a release which makes a highly enjoyable first impression but continues to sneak up on the imagination as each track passes with diversity and inventive fun; the result an encounter very easy to get rather excited about.

The Kreoles emerged in 2011, the realisation of an idea by founder Ivan McSimon, a Como-based producer, songwriter, and guitar player who previously played with Dyve. The new project was born from the intent to explore new creative paths and subsequently saw McSimon linking up with vocalist Valentina Merlo, bassist Marco Francesco D’Elia, and drummer Davide Piccolo. 2014 saw the release of their well-received debut album Touch The Sun, the potent base from which Psycho now blossoms from with even greater adventures.

Released through Sliptrick Records, Psycho makes a strong and steady start with opener The Last Man. Coaxing attention with its initial country scented melodic jangle, the track soon breaks into a muscular stride with swinging rhythms, an irritably steely bassline, and the fiery roar of guitar. In the midst of it all, the instantly engaging and impressive voice of Merlo lures with siren-esque quality drawing ears even deeper into the rousing heart of the song. Slips into melody rich emotively calmer passages only adds to the alluring drama of the encounter, McSimon scorching the senses with his volcanic melodic tapestry as the album roars into life.

Disease takes over with the same kind of imposing but welcoming intensity to its body, more classic metal hues colluding with the band’s enterprising canvas of textures and sounds. Again there is an instinctive nagging snarl to the underbelly of the song driving the melodic fire consuming and pleasing the senses; Merlo enticing and the open individual prowess of the band uniting in a similarly explosive and anthemic proposal.

With exotic keys to the fore, Empty steps forward next, that early charm soon entwined and vocal in a web of sonic and rhythmic rapacity embraced by an Animal Alpha like character of song. Infectiously irresistible and a fierce flame of melody and tenacious energy, the track stirs the spirit before making way for the equally creatively hungry and energetically dynamic Too Fast To Live, Too Young To Die. Breeding a great punk pop essence recalling seventies bands like The Photos and The Adult Net whilst infusing it in a tapestry of heavy rock/melodic metal enterprise, the song similarly catches attention with swift ease and potency, only increasing its hold minute by minute.

Though just as heated, a calmer climate embraces next up Don’t You Know, a Pretenders spiced offering with more of the southern hues which the band skilfully infuse in many of their songs. With the vocal beauty and expression of Merlo sheer magnetism, the song boisterously smoulders, its touch a burning seduction as catchy as anything upon the album.

Through Obsession with its rhythmic irritability and melodically metallic confrontation and the tempestuous confrontation of Like A Scream, The Kreoles keep enjoyment high even if neither song ignites the appetite as imposingly as their predecessors. Both tracks are missing the same kind of surprises lighting up those around them but ensure there is no wandering of attention before Dolomites installs itself as our favourite moment. A rolling contagion of country punk pop as inescapably infectious as the flu but a hell of lot more fun, the song just cannot fail to place a smile on the face and in the heart with its virulent exploits.

Black Star’s Night is another which weaves familiar essences into its own creative domain to forcibly satisfy without turning emotions lusty before the album’s title track brings things to a thrilling close. There is cantankerousness to the rhythmic enticement of the song, a predatory edge lining riffs too as among them Merlo beckons with every syllable shared. Its eventful presence though is also a haven for melodic imagination and an evolving intensity as unpredictable as it is scintillating.

Psycho, song and album, is a masterful enslavement of ears and imagination from a band destined to real and eager recognition ahead and if their new enticement has its deserved way, beginning right now.

Psycho is out now through Sliptrick Records across most online stores.

http://thekreoles.com/    https://www.facebook.com/TheKreoles/    https://twitter.com/thekreoles

Pete RingMaster22/11/2016

Copyright RingMaster: MyFreeCopyright

Risa Hall – Sixth Sense/Inconsistently Consistent

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As her new album lures ears and acclaim, Risa Hall provides further temptation for it with new double A-sided single Sixth Sense/Inconsistently Consistent. Previous single Kids on Victoria Avenue provided a rousing teaser for Love is Telepathic, sparking only eager anticipation for Hall’s second album, which the new pairing of songs, also taken from the full-length, now firmly backs.

The great-niece of Estee Lauder and friend of The New York Dolls, New York City born and now UK, Manchester to be exact, based Hall has been no stranger to praise through her acting work and music through the likes of the Apple Tarte EP and debut album Glass Full…? which she recorded with Nigel Stonier (Waterboys, Thea Gilmore, Sandi Thom).  Love is Telepathic is quickly drawing even stronger plaudits with many reasons why apparent in Hall’s new single.

Sixth Sense is a warm caress of the senses, acoustic guitar and melancholic melody uniting to cradle the magnetically engaging voice of Hall. There is not an overriding feeling of sadness washing ears though, the warmth of all elements a boldly catchy temper to the shadows coating the heart bred lyrical reflection. Increasingly captivating with every passing minute let alone each listen, the song is pure seduction.

Its companion, Inconsistently Consistent, is a livelier engagement from the first note; starting on a keen stroll which its partner built up to. Again melody and voice steal attention though the spicy flame of a solo which breaks out takes its share of eager focus too. Kids on Victoria Avenue showed an enjoyable Chrissie Hynde/Pretenders hue to its adventure which Inconsistently Consistent also touches if with not quite as much firmness.

Both songs please ears and spark further intrigue to check out Love is Telepathic, with for personal tastes Sixth Sense stealing the show and especially revealing everything potent and enjoyable about Risa Hall.

Sixth Sense/Inconsistently Consistent is released October 7th with Love is Telepathic available now @ http://risahall.com/product/love-is-telepathic/

http://risahall.com/    https://www.facebook.com/Risahall    https://twitter.com/risahall

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Mohawk Radio – Two Million Heart Beats

Mohawk Radio _RingMasterReview

Based in Manchester, Mohawk Radio has been sparking a bit of a fuss with their vibrant sound on the UK rock scene and are looking to stir things a little more with new single Two Million Heart Beats, a song which has little difficulty making ears attentive.

Mohawk Radio artwork_RingMasterReviewFormed in 2012, it is fair to say that Mohawk Radio has regularly garnered praise and attention with their melodic rock enterprise. Led by the potent and powerful voice of Mia Page, and driven by the melodic and rhythmic adventure of James Gregory, Sean Frankland, and David Quinn, the band has played numerous acclaim grabbing shows at venues such as Deaf Institute, Academy 3, Dancehouse, American Ambassador’s Residence, and The Bedford, as well as various UK festivals to great success. With two well-received EPs under their belt, and tracks played on radio shows and stations from Manchester and across the UK to Europe, Mexico to the US, Mohawk Radio has seemingly rolled a sonic snowball persistently picking up acclaim; success set to continue with Two Million Heart Beats.

Sparked when Page watched Fleetwood Mac play Madison Square Gardens in New York, and inspired in title and chorus by a misheard advertisement, Two Million Heart Beats strokes ears with a melodic caress for its first touch, almost as immediately bringing in darker bass hues and a bolder surge of guitar for its second. Soon it is strolling with evocative melodies as Page’s expressive voice shares its heart. Even before it uncages a fiery crescendo for its chorus, the song has a great feel of The Pretenders to it and equally a Stevie Nicks scent to its magnetic charm.

From that first blaze, the track continues to be a feistier proposition with an equally increasing catchiness as sounds collude with the open prowess of Page’s voice. In some ways, there is something familiar to Two Million Heart Beats which works well with the freshness of persuasion and passion, a union ensuring enjoyment is high and the song a lingering proposal.

Two Million Heart Beats is out now through iTunes.

Upcoming live dates:

Sat 16th April – Star and Garter – Manchester

22nd April – The Bear – Taunton

23rd April – The New Market – Weston super-mare

24th April – Bar Brunel – Bridgwater

5 – 7 August Dairyfest Festival – Weston Super Mare

26 – 29 August – Watchet Festival – Somerset

http://www.mohawkradio.co.uk/   https://www.facebook.com/mohawkradio   https://twitter.com/OFCLmohawkradio

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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

Little Lapin – Remember The Highs

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It was only a couple of months ago when Little Lapin seduced and enthralled with the single Remember The Highs, its masterful coaxing of ears and imagination the wake-up call to the mesmeric sound and voice of the UK singer-songwriter for a great many. The acclaimed track also revealed inventive and bold songwriting, something her fans were already vocal about and now impressively confirmed by the artist’s debut album also called Remember The Highs. It is a fascinating and captivating collection of songs which with diversity and melodic resourcefulness simply leave thoughts and emotions spellbound.

Little Lapin is Lucy Hill, a Devon bred songstress now based in Bristol who has been entrancing audiences from the UK to New Zealand and New York since emerging round 2012. Musically her inspirations include the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, many providing creative whispers in what is a sound and songs which are openly distinctive to Hill. The swift proof comes with the last single, though before that she had bred a strong and loyal fan base through a tantalising live presence and releases such as earlier tracks Sound of Summer and Winning Is Losing, and more so a self-titled EP last year which sparked attention from the likes of Tom Robinson on BBC Radio 6 and regular online radio play. It is easy to assume though this was just the appetiser to more fevered responses and acclaim destined to be earned by Remember The Highs, the album a beacon of melodies and harmonies set to draw greedy appetites like moths to a flame.

a1696187169_16   The album opens with Magnet Eyes and an immediate inescapable tempting of warm guitar and keys taken to another enslaving level by the unique tones of Hill. Her voice has a quality of sounding familiar as well as freshly bewitching, but from person to person it seems we hear someone different as a reference, the likes of Laura Marling, Regina Spektor, Sinead O’Connor, and Chrissie Hynde just some references used, with the latter the closest for us as a descriptive hint. As the song stretches its melodic nature and evocative air, a shadow of darker resonance comes into play to catch the imagination all over again, whilst voice and keys especially almost flirt with rich expression and emotive radiance.

It is a captivating start, but also a potent teaser to the glories of the following Over The Draft and the album’s title track. The first of the two songs creases ears with an initial persuasion of guitar again quickly enhanced by the sultry tones of Hill. Eager rhythms then gently and enticingly march into the exotic landscape now being cast by keys, everything settling into a scenic lure of melodic mystique and catchy hooks with the voice of Hill one giant romance of a snare. Its successor remains as potent as the first time heard, and if there is an air of Chrisse Hynde in the second track, Remember The Highs wonderfully reeks of The Pretenders in its sonic groove and provocative melodic hooks. Vocally too Hill brings her spiciest tang to syllables and a slightly nasal croon reminiscent of the Ohio musician. The darker bred bass groove alongside the irresistible winy flames of guitar is equally as compelling, the song providing one delicious embrace of tenacious enterprise and beauty.

The acoustic opening to Go!Stop!Go! has ears lit and body swaying instantly but it is the brooding air of drama cast through keys and an orchestral breath which ebbs and flows across the track, that turns a potent encounter into a spellbinding one. It is a serenade with haunting shadows and dark aural reflections which offer a melancholic temper to the invigorating partnership and narrative of voice and melody. The song just blossoms with every listen, its slower initial smoulder, compared to the previous songs, soon as engrossing and seductive as anything upon the album.

Sound Of Summer rolls in next on a rumble of rhythms which quickly evolves into an embrace of seventies seeded Beatle-esque keys and the ever inviting vocals. Occasional crescendos of drums add to the expanding and again sultry canvas of the song, guitars and keys colouring its scenery with alluring and imagination inciting enterprise to which bass adds swarthy lines of juicy shadows. Once more there is no option but to sink into the depths of a song before being left face to face with the rockier acoustic persuasion of In My Mind. The song is barely a stroll across the senses but even in its low key gait reveals a tenacious and sturdier character in its absorbing balladry compared to its predecessor.

Both songs though get over shadowed by the outstanding Colour Blind, a track emerging as a definite favourite. It starts on a thoughtful and evocative persuasion of guitar, Hill in moments adding her reflective vocal spice for an engaging start. Soon though, everything erupts into a gently concussive belt of emotional and creative turmoil, agitated rhythms and clanging riffs consorting with fiery keys in a bedlamic expulsion. It is a striking and thrilling twist to an already highly persuasive proposition providing yet another major highlight in Remember The Highs.

The album finishes with firstly the melancholic but again vibrantly arresting Panic, a song which has an essence of the drama found within The Smiths songwriting to it, and finally the closing warm smile of A Nice Coincidence. Contrasting textures flirt from within the encounter, sombre strings find themselves courted by skittish rhythms and another seduction of voice and melodies. The lyrical side of songs, as once more shown here, is just as intriguing and enticing, Hill able to cast hope in dark experiences and show the shadows within the brightest adventures.

Remember The Highs is a musical love affair for the senses from an artist in Little Lapin, who has the potential to become one of Britain’s most exciting and innovative singer songwriters. Thinking about it as her album seduces once again, she already is.

Remember The Highs is released on May 15th @ http://littlelapin.bandcamp.com/album/remember-the-highs-2

http://www.littlelapinmusic.com/   https://www.facebook.com/littlelapin

RingMaster 14/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Vita and The Vicious – Bender EP

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It is far too early to mention Vita and The Vicious in the same breath as bands like Blondie, No Doubt, and The Pretenders yet as their new EP Bender feistily seduces ears and imagination, there is no escaping the potential within the band to possibly worry such heights in the future. They have a sound which you would guess has been influenced in some way by the certainly first of those two bands, an open flavouring which helps make their new three-track release a magnetic slice of melodic rock/pop. There is also an attitude to its songs which brings a fiery edge as enticing and refreshing as the infectiousness which flows freely through each encounter.

The beginnings to the London band were seeded around 2008 as a writing partnership began with vocalist Vita Ross and band lyricist Louisa Scott, with songwriter Keith James Godman a regular contributor too. The initial intent was to set Ross off on a solo career but it soon was apparent that she was more comfortable within a band scenario, a set-up her voice and live presence was more potent within. The band’s current line-up began emerging in late 2013; drummer Jamie Moore joining Ross before bassist Matt Young and guitarist Andy Manning were subsequently recruited. Last August saw lead guitarist Matt Fowler join the band, with the line-up finally completed by keyboardist Florence Sabeva. With a live presence and stature brewing nicely alongside the increasing potency of the band, Vita and the Vicious turned 2014 into a successful and busy time. They earned acclaim for shows at venues such as Zigfried von Underbelly and O2 Academy2 Islington, took big plaudits from a packed tent at Guilfest, and closed the year by supporting Holy Holy at The Welly in Hull. A national awakening is next on the agenda for the band, and even if not their immediate aim there may be no escaping that kind of attention thanks to Bender.

91UjsQowrBL._SX522_     The EPs title track opens the revelry up, a sonic breeze the spark for a compelling stroll of spicy grooves, seducing keys, and crisp rhythms. The striking voice of Ross is a swift enticement too, her tones somewhere between Debbie Harry, Wendy Wu (The Photos), and Chantal Claret whilst carrying the bite of a temptress and the fire of a vintage songstress. The song itself almost swarms over the senses, keys a lively bubbling of melodic seducing and rhythms a tenacious protagonist, both bound in the creative enterprise of guitars and vocals. Virulently contagious, the track alone spills that promise earlier mentioned, brewing thoughts of early Blondie with the raw temptation of a Karn8 or Japanese Voyeurs.

The following Face Off Honey opens with a similar sonic yawn but is soon weaving eighties synth pop into its volatile landscape. The track also offers a theatre to its imagination, one subsequently twisting into a confrontational but welcoming stomp led by voice and beats before returning to that initial tantalising energetic caress. The nostalgic breath never leaves the enjoyable flight of the song, fusing nicely with the great backing vocals and exotic rippling of keys shadowed by a broody bass sound and a wiry blaze of guitars. Though it cannot quite live up to the majesty of the opener, the song increases the hunger in an already greedy appetite whilst showing more of the diversity in the band’s sound.

Closing song All The Morning After is the same, revealing the band’s potency at creating evocative balladry within a tempestuously emotional and musical climate. The keys shimmer with robust radiance whilst guitars are almost stormy in their touch and invention, it all supporting the elegant croon of Ross. There is a touch of Danish band Forever Still to the excellent encounter as well as again an eighties air to its melodic rock hues, especially those coloured by the keys which maybe, to be a little fussy, over play that aspect a touch even if without defusing the rich allure of the song.

Without doubt Bender, the song, steals the richest acclaim but backed by two mouth-watering slices of melodic imagination, the Tom Wilcox (Woody Woodmansey’s Holy Holy, Lisa Ronson) produced EP is the announcement of Vita and The Vicious as one of the UK rock scene’s new exciting and captivating prospects.

The Bender EP is available now @ http://www.amazon.co.uk/Bender-E-P-Hand-Numbered-12/dp/B00WKAD3RK/ref=sr_1_1?s=music&ie=UTF8&qid=1430732405&sr=1-1&keywords=vita+%26+the+vicious

 http://www.vitaandthevicious.co.uk   https://www.facebook.com/VitaandtheVicious

Upcoming Show dates/;

May 6th EP Launch The Borderline, Soho London

June the 14th Cargo, Shoreditch London

RingMaster 05/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Lawless Hearts – Creatures Of Habit

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Coming off a highly successful 2014 which saw the band play Austin’s renowned SXSW and undertake a praise earning European tour, Florida quintet Lawless Hearts look to make this year just as potent in their emergence with the release of debut EP Creatures Of Habit. Offering four songs which draw on some of the best essences of classic rock for a modern slice of rock ‘n’ roll, the release is an attention grabbing and thoroughly enjoyable introduction to the band.

Hailing from Jacksonville, Lawless Hearts takes inspirations from the likes of Bon Jovi, Guns N Roses, Led Zeppelin, Boston, and Foo Fighters into their energetic and melodically expressive sound but equally as their EP pleasures the ears, it is easy to suggest that maybe artists like Heart, Fleetwood Mac, and The Pretenders have made some impact on the band’s tastes too. Creatures Of Habit is not a proposition which blows you away or reeks of major originality, due to those influences maybe, but equally it does have a blaze of freshness and enterprise which ensures the band is not just one of the crowd.

Creatures_Large     The EP’s title track is the first song to touch ears and instantly wraps them in a sonic embrace which soon broadens into a potent stroll framed by pungent rhythms and coloured by a guitar bred melodic enticing. Things settle down with the full entry of Alex Marie’s magnetic vocals, her impressive voice swiftly a full engagement between ears and pleasure backed strongly by members of the band. The guitar of Michael Thomas also brings another rich ‘voice’ to the encounter, infusing the song with more imagination melodies around a flame soiling solo. As riffs from rhythm guitarist Justus Sutherland similarly entice and the dark throaty tones of Rob Joseph’s bass enthrals, the song blossoms into a flavoursome captivation.

The fiery air and textures of the first song continue to be explored by the following If I Have To which erupts with an immediate pop rock infectiousness. The crisp beats of drummer Corey Ahlquist hold court across the infectious encounter, driving things on in a vivacious stroll as vocals and guitars cast their individual tenacity and feisty charm. Like its predecessor, and the EP as a whole, it is hard to say you will hear anything startlingly new yet for enjoyable and refreshing rock sounds and imagination Lawless Hearts leaves no one wanting. The delivery of Alex Marie, as the sounds seems, to gain even greater heat in its passion too whilst the guitars once more dazzle in craft and adventure.

Oblivion is the source of that earlier mentioned hint of The Pretenders, the evocative hues around its verse especially reminiscent of the distinct flavour found in the UK/US band. A more restrained but no less impassioned proposition, the track provides a rock pop croon thick on emotion and full to the gills with transfixing vocals and harmonies.

It is final song Fallout which steals the show though, opening with a reflective balladry which evolves into a mighty rock ‘n’ roll stomp complete with rumbling rhythms, vocal roars, and melodic intoxication. The track is irresistible and alone reeks of the potential within Lawless Hearts which suggests this is a band really going places. The other tracks on the EP are no slouches in making similar hints, but the last proposition on the EP simply soars above their accomplished and enjoyable presences to majorly impress. Once more it is probably right to say no new templates are being set in place with the song but rock music does not often come much better or thrilling.

With their first album also appearing to be in the works for 2015, it is looking like being another big year for Lawless Hearts with Creatures Of Habit a rich and pleasing start for it and the suspected wakening of big spotlights upon the band.

Creatures of Habit is available from April 21st via Pavement Entertainment on most online stores.

http://www.lawlesshearts.com/   https://www.facebook.com/LawlessHeartsMusic

RingMaster 21/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net