Billybio – Feed The Fire

An integral part of numerous inspiring moments with Biohazard and Powerflo, Billy Graziadei continues to be one of punk’s driving forces as he uncages his debut solo album under the moniker Billybio. Feed The Fire is a powder keg of hardcore dexterity and discontent, fire and brimstone punk rock as contagious as it is a snarling intolerant of the ills coursing through the world. Bred from a rich fusion of flavours the album is a fury of anthemic rock ‘n’ roll with a roar which makes you want to take part whilst paying keen attention.

As Graziadei declares, Feed The Fire is “100% me. No influence from anyone else. This is who I am and what I’ve become. I’m a product of everyone I’ve met, talked with, shared my stories with…and a bit of their stories as well.” It growls and bites as it inflames and badgers thought and spirit whilst unleashing some essential slices of punk rock.

With friends such as guitarist Dan Palmer (Death by Stereo/Zebrahead), bassist Ra Diaz (Suicidal Tendencies), and drummer Simo Perini alongside Graziadei, the Tue Madsen produced release instantly got under the skin with opener Freedom’s Never Free. Marching into view, the track explodes on the senses, raw grooves and Graziadei’s vocal grievance fuelling the attack. It is an ear grabbing invitation which simply hits another level as the track twists into one virulent chant of defiance, an inescapable trespass to which submission and involvement is instant.

Latest single and the album’s title track follows, unleashing its own contagion from its first breath. With teeth bared through its first riff and vocal uproar, Feed The Fire quickly launches itself with creative tenacity; guitar and rhythms as explosive as the vocal incitement which again fuels insatiable catchiness.

No Apologies, No Regrets rises up with a more deliberately predacious intent, slowly rising to its full height before hurling its goodness and dissonance at ears while in turn Generation Z uncages infectious multi-flavoured rock ‘n’ roll with zeal. The first is a web of temptation and altercation, as inventive as it is furious with its outstanding successor a contagion of hard and punk rock which needed mere seconds to have body and vocal chords adding their mutual zealous discord.

Through the likes of Sick And Tired, an infectious dispute and enterprise bred persuasion, and the feuding Sodality which erupts from the dark smoulder of the momentary breath that is Remedy, the album only tightened its grip on ears and appetite pushing its claws deeper into the passions with the musically and emotionally acrimonious Rise And Slay, the track a delicious predatory harassment of metal, punk, and ravenous rock ‘n’ roll.

Offering up thirteen slabs of confrontation, there is truly no weakness or less than irresistible moment within Feed The Fire as emphasised in turn by the bracing punk call of STFU, the haunting and intimidating melodic siren that is Trepidation, and Untruth with its virulent resentment and imagination; all dramatic treats easily devoured.

The album is concluded by firstly the bruising anthemic blaze that is Enemy, another moment which has heart and vocal chords rigorously on board and lastly Disaffected World. The final track is arguably the most manipulative incitement of them all especially through the vocal and seriously tempting sonic tocsin which interrupts the song’s primal uproar.

Punk rock in its many forms has had a prize year in releases across 2018 with possibly, most likely, its finest moment now provided late by Billybio; an uprising sure to be the inspiration it deserves to be.

Feed The Fire is out now via AFM Records across most stores.

https://billybio.com/   https://www.facebook.com/BillyBIOHAZARD/   https://twitter.com/billybiohazard

 Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

Playboy Manbaby – You Can Be A Fascist Too b/w I’d Like To Meet Your Parents

playboymanbaby_RingMasterReview

How to describe Playboy Manbaby? Hailing from Phoenix, Arizona, they are a six piece punk band where imagining the Banana Splits meets Swell Maps in cahoots with The Tuesday Club and Zebrahead feels the closest in portraying the band’s deliciously creative rioting. They are mayhem in the speakers, irreverence in the imagination and quite simply and as shown by their new single, irresistible.

Described as “the contradictory soundtrack to the contemporary life experience”, Playboy Manbaby is made up by the combined creative mania of Robbie Pfeffer (vocals), Chris Hudson (bass), TJ Friga (guitar), David Cosme (trumpet), Chad Dennis (drums), and Austin Rickert (sax). The past five years has seen the band steal the hearts and support of their local music scene and tear up stages alongside the likes of Mike Watt & The Missing Men, King Khan & BBQ Show, King Khan & The Shrines, Rocket From The Crypt, Thee Oh Sees, Cosmonauts, The Spits, Black Flag, The Descendents, The Replacements, The Slackers, Teenage Bottlerocket and many more. Grabbing major attention on broader landscapes has yet to find Playboy Manbaby, we ourselves only being introduced to them through latest proposal You Can Be A Fascist Too b/w I’d Like To Meet Your Parents, but thanks to the ever impressive discovery of talent by Dirty Water Records, things could be about to explode for the band.

art_RingMasterReviewWith new album Don’t Let It Be in the works, Playboy Manbaby tease the appetite with You Can Be A Fascist Too, the first single from the impending release. Originally scheduled for a February unveiling, it was brought forward to coincide with the US presidential inauguration. From the off it assaults and lures with a belligerent guitar jangle quickly followed by the raw incitement of Pfeffer’s vocals. Second by second new invasive hooks and salacious grooves fling themselves into the punk mayhem, band shouts and off kilter harmonies wagging a beckoning finger as effectively as the caustic riffs and tenacious rhythms.

The track is a treat and mischievous brawl easy to devour as too is its companion I’d Like To Meet Your Parents. In fact it just about steals the show with its less intrusive but just as virulent dexterity in sound and flirtation. Leading up to a chorus which needs mere seconds to recruit and chain listener participation, the song strolls with minimalistic yet alluring melodies and enticing hooks as vocals make a plaintive proposal with a similarly swinging canter. It is glorious stuff with a foot in seventies punk as the band’s unique modern day mania bellows.

Dirty Water Records have a growing reputation for the eclectic range of their releases, the Playboy Manbaby adding yet another thrilling facet and while becoming one of the label’s best singles yet.

You Can Be A Fascist Too b/w I’d Like To Meet Your Parents is out now on Dirty Water Records and through http://playboymanbaby.com/shop/ and https://playboymanbaby.bandcamp.com/

https://www.facebook.com/ButterGravyButter   https://twitter.com/playboymanbaby

Pete RingMaster 01/02/2017

Copyright RingMaster: MyFreeCopyright

The Hostiles – Last Call

The Hostiles Promo Shot_RingMasterReview

Giving the most glorious workout to swinging hips and inexhaustible feet, as well as instinctive pleasure, Scottish Ska-punks The Hostiles recently released new album Last Call. It offers thirteen tracks of melody thick, brass clad, and feverishly delivered punk ‘n’ roll as raw and snarling as they are inescapably irresistible.

Formed in 2001, The Hostiles began with brothers Josh (guitar/vocals), and Chris Barron (bass/vocals). Growing up in the US, the pair was seduced by the sounds of west coast ska and the likes of Reel Big Fish, NOFX, and No Doubt. In their teens, the pair moved to Scotland, soon discovering the rawer energy and sounds of bands such as Capdown, Lightyear, and King Prawn. Linking up with Callum Douglas (drums) and Steve Bruce (trombone), The Hostiles was soon rousing the local live scene with in time Joe Stainke (trombone) completing the current line-up. Quickly renowned for their energetic live performances, the band’s reputation swiftly grew and spread, helped in turn by the release of debut album Always Looking Forward in 2009. Proceeding to share stages with bands such as Reel Big Fish, Less Than Jake, Zebrahead, The Mad Caddies, Strike Anywhere, and many more, The Hostiles followed up their attention luring first album with the Late Nights… And Early Hours EP in 2012 and the single/video For A Good Time Call 07946058526 two years later.

Now it is Last Call drawing attention and from its first minute arousing body and spirit. From the opening intro, the album leaps upon the listener with opener Ed Knows. An attitude laden bassline stalks the initial vocal draw, both leading into a fiery lure of guitar and rapier like swings from Douglas. Quickly as the trombones share their melodic flames, the track is a contagious blaze of infectious sound with a funk infused swing and punk ingrained fuel to its roar. There is little time before the listener is adding their full contribution in voice and movement, a success matched in the following Inconsiderate. A lighter stomp of a song with Hammond flavoured keys courting its instantly open catchiness, it carries a familiar air which only adds to its thrilling appeal.

The Hostiles Cover Artwork_RingMasterReviewThe band’s inspirations are never far from the surface at times, the second song evidence but spices used to shape songs which undoubtedly have The Hostiles character, as shown again in the prowling You Liar. Swaggering alone with mischief in its creative glands, the song is confrontational but an epidemic  of big hooks and intimidating attitude, and quite superb. It reveals the great mix of pop honed and punk rock driven sounds which have sparked the band’s passions over time, all woven into another distinctive proposition before things calm a touch with I’ll Assume. It is just a touch too as the song soon shows its teeth and melodic prowess in a King Prawn like canter with exotic melodies and moody basslines entangling the ever potent vocals and swathes of mariachi hued trombone.

Both Night Out with its dirty tone and ridiculously infectious enterprise and its successor Wish You All The Best has body and soul leaping. The first is ska punk at its most creatively virulent and indeed addictive while the second is a boisterous romp shaped with smart hooks and persuasive melodies as well cast in imaginative drama coloured by rock guitar and theatrical brass.

The album continues to keep the listener on their toes with a broad grin on their face as the punk brawl of Spend My Life, the gentler sway of So, I Wonder, and the blazing exploits of Late Nights come, go, and leave ears and appetite aroused. The third of the trio especially adds another pinnacle to Last Call, all offering undeniable reasons to embrace The Hostiles adventure, with To Err Is Human providing another major highlight. The band’s latest single, it also has a hint of Mariachi El Bronx to its melodic and trombone nurtured side, a great flavour mixing with heavier punk rock attitude.

Released From Captivity uncages another addictive tempting, guitars and bass alone creating a web of hooks which snare body and heart with ease. Familiar essences come to the surface of the song but flavours simply used to shade its own individual devilment before the closing pair of encounters starting with Nobody Else. The song does not make the same impact as others within Last Call, yet has mutual participation with ease so does little wrong before the album’s title track brings it all to a cantankerous close. It is a ska infested hardcore brawl of a proposal, vocals a throated scraping challenge as brass bring a tonic to the imposingly grouchy touch of guitar and rhythms.

It makes for an unexpected and pleasing end to a release which sees ears and fingers itching to go again within seconds of its close. There are a few rather special ska flavoured punksters around right now and as proven by Last Call, The Hostiles stand by their side.

Last Call is out now on Bubble Tea Records @ http://thehostiles.bandcamp.com/

https://www.facebook.com/thehostiles/   http://www.thehostiles.co.uk/

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

Catch Fire – The Distance I Am From You

Catch Fire_RingMaster Review

It is a bit of a challenge to stand right out amongst the thick body of pop punk bands established and emerging; to find that sound which is easy to pick out from the crowd. Looking like they are on the way to becoming one such proposition is UK band Catch Fire. The Nottingham quintet has not exactly found that uniqueness yet but as their debut EP shows, they are definitely moving in the right direction. The Distance I Am From You EP offers four songs firmly bred in the recognisable genre design that flavours so many bands but as each track develops, Catch Fire show an imagination and willingness to inventively twist things that can only push the band away from the pack in time.

Formed in 2013 under the name Layby, the band released two EPs before last year either evolving into or re-remerging as, however you want to look at it, Catch Fire who now make their potent introduction through The Distance I Am From You courtesy of Rude Records (Set It Off, Zebrahead, Blood Youth, Light Years, Knuckle Puck). It is an encounter revelling in the surge of melodic prowess fuelling its songs and the fresh imagination coated tenacity coming from each band members; evidence of both coming straight away with opener Introspective Pt. I.

Catch Fire TDIAFY Artwork_RingMaster ReviewInstantly rugged riffs and rumbling rhythms swamp ears as vocalist Miles Kent, backed as potently by the harmonic tones of guitarist Neal Arkley, nudge attention. It is a thick but controlled beginning turning into a far friskier stroll as drummer Ash Wain’s swings become more dynamic and aggressive whilst vocals continue to easily please. That boisterous nature continues into the steely bass prowl cast by Joseph Ryan Askew’s fingers and on to the sonic blend of riffs and melodies spun by Arkley and Tim Bell. It is a heavily engaging and rousing encounter elevating to new heights and standout individualism when it canters through a low key but provocative passage of vocal shadows and harmonies within a cage of almost predatory textures.

It is an impressive start matched by latest single Bad Behaviour. It too opens with a bold and rowdy start that holds few big surprises yet grabs ears and appetite by the throat, feeding their basic needs before exploring its more inventive dexterity and ideation. Strands of spicy melody and an imposing and inventively alluring unity of drums and bass begin to emerge as the track progresses, it all blossoming into richly enticing exploits that defuse any previous scent of the band being just another formula pop punk offering.

The first two songs probably edge the other pair within The Distance I Am From You but firstly Anaesthetic has bodies bouncing and enjoyment swinging with its rapier like rhythms and fiery sonic invitation around again a strong vocal mix whilst Introspective Pt. II closes the EP off with an emotively calm acoustic caress to sink in whilst leaving one more reminder of the side by side vocal strength of Kent and Arkley as well as the thoughtful songwriting of the band.

Catch Fire are not at that point of turning UK pop punk on its head but the signs and potential are there within The Distance I Am From You, that the band have it in their ability if their imagination continues to blossom.

The Distance I Am From You EP is released February 5th via Rude Records.

https://www.facebook.com/catchfireband   https://twitter.com/catchfireuk

Pete RingMaster 01/02/2016

Copyright RingMaster: MyFreeCopyright

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

Ondt Blod – Finnmark

ondt_blod_RingMaster Review

If the opening weeks of January are anything to go by, we are in for a mighty year of emerging potential drenched bands, seriously thrilling releases, and propositions to make your toes curl. One such prospect to add to the already expanding list encapsulating all three of those aspects is Norwegian band Ondt Blod and their debut album Finnmark. The ear grabbing release is a ridiculously gripping collection of fury fuelled, antagonism sculpted tracks infused with unpredictable imagination and virulent contagion. It is a rousing incitement as sure to get you cursing the world as dancing feverishly on tables from a band already easy to suggest big success is coming the way of.

Formed in 2013, Ondt Blod comes from Norway’s most northern county bearing the same name as the band’s album. Since emerging, the quintet has earned a mighty reputation for their “crushing and intense attitude on stage”, a success including playing with bands such as Gallows, Blood Command, and Kvelertak. Drawing on inspirations from the likes of JR Ewing, Blood Command, and Kaospilot, Ondt Blod’s songs, as on the album, come with themes revolving around un-employment and industrial communities in decline as well as self-contempt and small town pride. Produced by Yngve Andersen (Blood Command, Girl Army) and mixed and mastered by Ariel Sivertsen and Brad Boatright respectively, Finnmark pulls no punches yet it also offers one of the most uncompromisingly catchy hardcore proposals in recent times.

ondt_blood_cover_RingMaster ReviewWithin seconds, the band has feet and hips as involved as a swiftly eager appetite for the band’s sound as opener Svarte Daga stomps in with nagging riffs and grooves amidst just as irritable yet anthemic rhythms. The grouchily growling tone of Kristoffer Joel Høe’s bass and in riffs in general easily hits the spot even before the raw rousing tones of vocalist Aslak Heika Hætta Bjørn, melodically backed by the alluring calls of the band, whips up a frenzy courted by a sonic web spun by the guitars.

It is a storming arousal of the senses and emotions backed up craftily by the less intensive but just as agreeably hooked littered Nye Lydspor. Not quite pop punk but certainly with a warmer tone and grin to its aggression, the song has a touch of Zebrahead to its engagingly volatile character again marked by a stirring bass snarl and the nagging prowess of guitarists Alexander Våga Mortensen and John Nilsen. The pair creates a fevered tempting which gnaws the senses as it leads the body into unbridled revelry, this enterprise just as tempting within Kompis Med Satan and its enjoyable blend of vocal deliveries. With each track sung in Norwegian, lyrically tracks are a mystery but the heart and emotions driving all are as open as the hefty and predatory swings of drummer Håvard Rushfeldt.

Tragedien Kommer brawls with the senses next, stamping its rhythmic feet as throats bleed with their roars before twisting things on their head by introducing a chorus of upbeat, almost ‘grown up’ vocal propriety and then going through the enjoyable process again as punk rock hooks and flirtatious ingenuity leap at ears. The track quickly has ears and emotions drooling, as too does the waspish irritancy of Gjengtegn and its belligerently devilish parade of unpredictable twists, sonic expression, and vocal dexterity.

Take any track from Finnmark and it epitomises the Ondt Blod sound and invention though no song sounds the same as proven again by the chest beating roar of Symbola. Like CIV meets fellow Norwegians Shevils, the track buzzes busily around ears as it burrows deep under the skin and into the psyche. Punk and hardcore colludes once more with fresh faced melodic drama and unbridled infection showered lures, the album’s variety unrelenting with the bruising and at times inhospitable 9900 Sodoma proving as it rages with ire upon the senses next. Equally it teases with some glorious anthemic bait led by hooks and the increasingly impressing vocal adventure across the band before Betongtro bears its vitriolic soul with creative tenacity and concussive intensity across calmer reflections and melodic detours.

The album is completed by firstly Brent Jord and its thick cloudy squall of sound and muggy sonic persuasion and finally the album’s title track which explores strains of post punk within its irritated disposition of emotion and sound. As its predecessor, the song moves into darker depths and richer arrays of flavours across its evocative landscape, and though it maybe does not make the same immediate impact as the riots before it, the tempestuous exploration grows to only enhance the enjoyment and invigorating experience of the album.

Norwegian hardcore seems to be going through a noisy, thrilling heyday right now with Ondt Blod right there helping lead the way, not only at home but as Finnmark proves, across the genre as a whole.

Finnmark is out now via Loyal Blood Records

https://www.facebook.com/ondtblodband

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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

Daylight – One More Fight

Daylight_RingMaster Review

Though released back home a year ago, One More Fight gets its own UK release this month on the eve of Spanish pop punks Daylight’s UK tour. Such its storming collection of contagious anthems it would be no surprise if a great many of British genre fans have already a copy of their highly persuasive release in their collection, but if not, the time has come to grab some, not ground-breaking but inescapably rousing, pop punk either for the speakers or live.

Formed in 2004, the Barcelona hailing quartet has over the years toured through Europe, Russia, China, and Japan, as well as successfully play Groezrock, headline The X-Games, and shared stages with the likes of MXPX, McFly, Reel Big Fish, Zebrahead, and The Ataris. Their imminent tour around the UK is their first though and as mentioned marked by the release of One More Fight. Produced and mixed by Andrea Fusini (Upon This Downing, Ms. White, Ready Set Fall) alongside Andrew Wade (A Day to Remember, The Ghost Inside, A Loss for Words), the album instantly leaps on ears igniting body and appetite with boisterous ease.

Opener Anthem Of The Broken lives up to the first part of its title immediately, vocal harmonies and roars within tenacious riffs igniting ears as punchy rhythms give them a healthy examination. There is nothing flawed musically in the song either, the heavy wiry tone of Olek Burek’s bass irresistible whilst the guitars of Wojtek Burek and Albert Domenech almost dance on the senses as they cast magnetic aggression and fiery enterprise. The combined vocal persuasion of the Burek brothers is just as impressive too, the track strolling with lively attitude and physical prowess into waiting imagination and enjoyment.

cover_RingMaster Review     The following Kickbacks is a touch more reserved in its assault but still a thumping encounter built on the voracious swipes of Victor Vera’s muscle on drum skin. With the body soon bouncing as eagerly as the song’s, rich satisfaction is alive without a care for the kind of general familiarity which seems to come with pop punk releases as a whole. As the track shows, The Daylight touch and impassioned energy brings an ingredient which makes already strong songwriting standout from the masses too, that and an ability to create instinctive hooks and melodies which seem to know what tastes like and want.

The forcibly catchy Consequences takes over with its own easy going and rigorously infectious stomp next, guitars and bass a busy maelstrom of enterprise pierced by again heftily swung beats and wrapped in the captivation of the vocals. It also continues the imagination which brings resourceful and unexpected twists in certain moments, an invention even more open in the sonic shimmer of Now Or Never. The song entwines elegant melodies around expected catchiness, vocals leading the gentle but anthemic roar as in its lining, a great glimpse of discord and shadowed contrast comes and goes to further entice.

We Are Strong has a Jimmy Eat World spicing to its tempting, the electro winking of its predecessor again pulsating in the enthused hug of the song. With a New Found Glory scented air brewing up and subsequently soaking the heart of the track, its more than agreeable presence swaps with the equally alluring loud croon of Another Day. Though neither proposition incites the same energy of responses as those before them, each leaves ears with a smile and pleasure strong before being eclipsed by the Good Charlotte meets Weezer meets McFly like Best Days of Our Lifes. There is a touch of Green Day to the song too, and a wealth of imagination from Hammond-esque keys to rap shaped vocals which ensure it is a proposition which, without major originality on show, offers a fresh and bewitching weave of eclectic contagion.

The song should be the closing track to One More Fight, its feel good factor the perfect way to end the album. In fact it could even be as the track line-up is marked two ways on the promo sent to us and on the band’s Bandcamp different again, so do not take our line-up as read, just that it is true to the quality of the great release.

The thrilling Revolution is next in our schedule, from a grouchy bassline and confrontational incitement from drums and guitars, the song challenges and enlists full involvement in its aggressive anthem of a roar. Green Day again springs to mind as the track rivals the starters for best track honours, its defiance in word and emotion the griping fuel to the sound igniting fresh greed.

The final two songs on the album keep things rolling along with joyful energy, End Of The World releasing its Living End spiced rock ‘n’ roll first leaving Crazy Youth Gone Wild to bring a thoroughly enjoyable romp of a release to a rewarding close. As suggested One More Fight is not Daylight breaking down walls or reshaping the pop punk scene but it is them proving they are one of the genre’s most potent if for many still secret pleasures.

Britain time to get on those feet and romp…

One More Fight is released in the UK on 23rd October.

Daylight’s UK tour dates:

27 Oct – London, Boston Music Room

28 Oct – Edinburgh, Opium

29 Oct – Ayr, West Of The Moon

30 Oct – Dundee, Drouthys

31 Oct – Glasgow, Nice And Sleazy

01 Nov – Sheffield, The Hop

02 Nov – Derby, The Vic Inn

03 Nov – Frome, Cheese And Grain

04 Nov – Swansea, The Scene

http://www.daylightband.com http://www.facebook.com/daylight http://www.twitter.com/daylightband

Pete RingMaster 23/10/2015

Copyright RingMaster: MyFreeCopyright

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Centre Excuse: In Your Mind

As soon as the brewing storm of electro punk energy and thumping rhythms accost the ear, the feeling that something special is about to unleash itself on the senses is rife. In Your Mind, the new single from UK sound rioters Centre Excuse, does not disappointment, their stunning release leaving no atom of dissatisfaction alive as its stomping and bruising encounter ignites the fullest deepest pleasure.

The trio from England’s smallest county Rutland, has left audiences and fans breathless from almost day one since forming on 2010. With their debut EP All Systems Go, the three piece of Teddy Lewis (vocalist, guitarist, synth) and brothers Jamie (guitars, bass) and Alex Rush(drums),  inspired a swiftly growing following and great responses to their inspiring blend of punk and rock drenched in the vibrant synth pop of the eighties. Their music is fresh and consuming but with a glow and blistered elegance which is hard to define yet delicious to taste and immerse within. The new single follows their last successful release, the Generation Z EP which itself continued the great acclaim and ardour spawn from previous singles.

In Your Mind is the most powerful and thrilling song yet from the band, its intimidating and feisty energy an aggressive variation from the aforementioned EP showing another strength and diversity to their sound. Whereas other songs in their continually impressing creativity bask in a captivating merger of post punk with electronic caresses and inciting rock urgency, the new single entangles the senses in a caustic maelstrom of punk and electronic acidic weaves. Think early Damned and Depeche Mode in a hybrid union with Zebrahead, and you get an idea of the wonder going on.

The track burns wonderfully as it rampages from its first note to last, the searing sonics of the keys as wonderfully harsh as they are mesmeric whilst the guitars scythe through to the senses with lean and rabid intensity. If that does not have ears and emotions blissfully on alert the explosion of rhythms and jabs drums on the senses from the drums ensures total capitulation, the bruises they offer worn like medals whilst their merciless punches reward as tremendously as the predatory tempest surrounding them.

The track is glorious and gets better with every listen. It is a song which elevates the heart rate and sends the blood surging through the body to match the intense energy unleashed and inspired in its recipients. If there is only one single you choose before the close of the year, this adrenaline driven impossibly infectious one from Centre Excuse should be it.

http://www.centre-excuse.com/

RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright