




The Hawkins strike me as a band of brothers who like loud guitars and goofin’ around in equal measures. After the quiet intro we get straight down to business with the vibrant ‘Roomer’. It sounds like they have a love of classic Rock and scandi attitude Action Rock again in equal measures and the whole of that is encapsulated in the single ‘Roomer’
There is a love of the duel guitar licks a la Thin Lizzy as perfectly performed on ‘Hilow’ but played out in the verses and chorus to some very sharp power pop.
It’s retro but in a thoroughly modern way. They’ve been together forever it would seem doing what they do and perfecting their art since 2013 which would explain their tightness.
During the first four years, The Hawkins kept the ball rolling by releasing EPs and singles while constantly being on the road, playing everything from small venue gigs to some of the biggest festivals in Scandinavia, including Sweden Rock Festival, Metallsvenskan and Peace & Love. They ended the year of 2016 with a huge bang by flying over to Russia to support pop/punk act ”4 Aprils” on a 10 day tour.
The Hawkins debut album “Ain’t Rock N Roll” (released via GAIN/Sony Music) entered the world with a superb bang in October 2017. The album included the single ”Fuck You All I’m Outta Here”, a powerful song with a strong anti-fascist message which quickly gained momentum in the Swedish rock scene, securing the band’s role as one the most promising bands of the country.
But three years have flown by and now in 2020 the time has come to step up and when they rock out as they do on ‘Stones’ they are easily a match for the likes of Imperial State Electric its fast-paced and tight and its catchy. Often I feel like we’ve met before. Whilst I’m not a big fan of the layered vocals ‘Mynah’ I certainly do get songs like ‘Minuette’ and its rough edges and the fire in their guts it reminds me a little of The Dahmers and they are always fantastic. I’m sure in a tight club with volume on their side these songs would take on another dimension especially cuts like ‘Libertine’.
On the final tune, I get a vibe of My Chemical Romance maybe in the vocals and the drama of the song which shows they draw from a large pool and whilst there are bits I’m not keen on there are some belters on here and I’m sure once one of the hooks lodges itself in my head that’s it -they’ll reel me in.
Rumour has it that that well-worn adage of “if you know, you know” was actually written especially for Wythenshawe’s finest Slaughter And The Dogs.
Having played the legendary 1976 Manchester Lesser Free Trade Hall show with the Sex Pistols and Buzzcocks they were actually one of the first UK punk bands to sign to a major label (Decca), and in 1978 (along with their then labelmates Cock Sparrer) they released their debut album ‘Do It Dog Style’. To this day though it’s hardly ever Slaughter & The Dogs (or for that matter Sparrer) who get name-checked in any punk nostalgia pieces run by the mainstream media, and always the likes of The Clash, The Damned, and of course the compulsory Sex Pistols. I wonder why? As ‘Do It Dog Style’ really is something of a stone-cold “classic” album from that first wave of UK punk.
Formed in 1976 around the creative axis of school mates (singer) Wayne Barrett and (guitarist) Mick Rossi, Slaughter And The Dogs actually took their name from two of Barrett’s favourite albums Mick Ronson’s ‘Slaughter on 10th Avenue’ and ‘David Bowie’s ‘Diamond Dogs’ and after adding bassist Howard ‘Zip’ Bates and drummer Brian ‘Mad Muffet’ Grantham to their line up it wasn’t long before they were playing shows like the aforementioned Free Trade Hall gamechanger along with the likes of The Hope & Anchor and the Roxy in London.
Releasing their blistering debut single ‘Cranked Up Really High’ through indie label Rabid Records in May 1977 it was this important stepping stone that saw Dogs snapped up by Decca and almost immediately they had ‘Where Have All The Boot Boys Gone’ released as a single and were sent out on tour with fellow Manchurians The Drones offering up the prospect of Slaughter On The Streets for those lucky enough to snap up a ticket.
Two singles later ‘Dame To Blame’ and ‘Quick Joey Small (Run Joey Run)’ (the latter featuring their hero Mick Ronson) and an early 1978 tour of the UK with the also criminally underrated Eater in support it was finally in June of that year that ‘Do It Dog Style’ hit the shelves….a week after (well, if legend is to be believed) the band split up.
And herein is the reason why I think Slaughter And The Dogs are not looked upon with the same sense of reverence as many of their punk rock peers. With the guys never achieving any of the sales figures or tabloid infamy of their former gig mates the UK music press always seemed to stop well short of affording them the rightful respect they deserved. Hence this 3CD set (from the always reliable Captain Oi!/Cherry Red joint venture) which finally fully celebrates the ‘Do It Dog Style’ album in all its expanded glory should be an immediate addition to any music fan’s collection. I’ve had it on vinyl for years – but here with an additional 29 tracks added in the shape of early singles, demos and live performances I don’t think it’s ever been afforded such an in-depth or (in fact) loving tribute.
Disc one is ‘Do It Dog Style’ in full, kicking off with the frantic bass driven ‘Where Have All The Boot Boys Gone’ which for me is still right up there with ‘Neat Neat Neat’ as a true anthem of 1977 and along with tracks like ‘Boston Babies’, ‘’I’m Mad’ and ‘We Don’t Care’ the glam meets punk riffing and lyrics of Rossi and Barrett truly shine…and again if I’m totally honest it has more than a little in common with the early days of their then label mates Cock Sparrer. For the uninitiated it’s perhaps the band’s choice of covers that best exemplify their sound and influences with Velvet Underground’s ‘I’m Waiting For The Man’ and New York Dolls’ ‘Who Are The Mystery Girls’ (once again complete with Ronno on guitar) both given a “Dog Style” makeover, the latter being perhaps one of the best Dolls cover versions of all time. I kid you not.
Disc two brings together 19 non-album tracks which includes the ‘Cranked Up Really High’ debut single, plus their two song contribution (‘Run Away’ and a truly savage Boston Babies’) to the seminal ‘Live At The Roxy WC2’ LP. Plus, there’s a whole host of non-LP B-sides, the scarce ‘It’s Alright’ EP and studio demos to keep even the diehards happy.
If this wasn’t enough there’s also the raw sounding third disc ‘Live Slaughter Rabid Dogs’ to help round things off. This ten song, 38 minute blast of live energy was recorded in Manchester in 1977 and originally released the following year by Rabid Records and sound wise it is streets ahead of most live recordings from that period – I swear you can almost hear the whistle of the pint glasses flying at the band prior to ‘Victims Of The Vampire’. It’s brutal stuff that’s for sure and also a fitting way to bring this most handsome of deluxe CD sets to a close, as during a reprise of ‘We Don’t Care’ the gig appears to end in total chaos, not unlike the band themselves would seemed to make a habit of it in the decades that followed.
‘Do It Dog Style’ – if you know, you know.
Buy it Here
Author: Johnny Hayward
UK punk rock band, VICE SQUAD featuring legendary Punk Vocalist and writer BEKI BONDAGE, have announced the release of their new album “Battle of Britain“, out on October 16h, 2020 via LAST ROCKER RECORDS/CARGO RECORDS. The album will be available digital, on CD and limited 250 copies on white vinyl / 250 copies on black vinyl can be pre-ordered: Here
The first rule of Punk is there are no rules and VICE SQUAD ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness.
The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, ‘Battle Of Britain‘ where Beki‘s vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people.
The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain’s hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media – ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too.
The penultimate track, ‘You Can’t Fool All Of The People‘ mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style.
VICE SQUAD are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI.
Since then VICE SQUAD have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs ‘Born In A War’ and ‘Ignored To Death V2’ taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020.
The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by ‘Cardboard City’, the name given to the settlement of homeless people living in cardboard boxes near London’s Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism.
VICE SQUAD’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. VICE SQUAD are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to VICE SQUAD via his sister’s record collection.
Man, I love some sleazy Punk Rock ‘n’ Roll. It would seem that these Bostonians otherwise known as Indonesian Junk do as well and as if by magic they write songs in that style with a bit, sorry a lot of swagger and no doubt a cocksure knowledge that what they’re doing is the best, they make it seem so effortless.
They’ve managed to absorb everything that’s good and great from the last 50 years plus and pour it into their tunes covering huge Rock behemoths in the shape of Kiss and one for the cool kids in the shape of The Joneses whilst adding some glam Starz style to their punk rock old school of Slaughter and the Dogs.
Man on the opener ‘Cmon and Love Me’ they throw in a cheeky Kiss number to draw you in but more impressively they follow it up with a super sleazy right on the money version of ‘Pillbox’ man that’s a great song but easy to get wrong but not the boys in Indonesian Junk they kill it! they take it to school and own the fucker! now that how to tip the hat to your forefathers and those who ploughed the furrow so we could all follow.
This is a compilation of curio B sides, singles and covers and they show us exactly what a tight little combo they are and you get to marvel at their swagger as they turn up the amps to 11 and just let rip. ‘Last Night Alive’ is basically a loosener, an aperitif if you like with the only lyrics being the title of the song shouted from the back of the room like a bunch of leary drunks but man it kicks your backside good and proper.
‘Now That Its Over’ comes on like a long lost Stiv Bater LA LA session and seamlessly the original tunes muscle in snugly with the covers and taking ownership of The Joneses, Kiss and Slaughter and The Dogs aren’t to be taken lightly but when you hear these version if you know you’ll know. Bloody great stuff.
Finishing with a few unreleased numbers is cool as well this is a compilation that’s not just thrown together its been lovingly prepared for the discernable lover of all things sleazy, glamorous punk rock and roll and Starz never sounded this good on ‘Outfit’. Inspired choices for covers and inspired original tunes. Give Indonesian Junk a chance you’ll love em then you can delve into their back catalogue knowing you’re in for a glam-punk treat, get it!
Buy A Life Of Crimes Here
Back for more this impressive trio from the North West who really impressed me with their ‘Wait’ album and they start this follow up with a hugely impressive ‘Undertow’ with its classic period Buffalo Tom flavours and pandemic punchy lyrics. they’ve got a great sound and really know how to bring it out to the benefit of the songs as ‘Still Need Singing’. A sprightly tempo thrashing around the speakers and as the refrain of “This Voice Is All We Have” through a fractured strain is powerful and really engaging.
The melodic punk punch of ‘What Doesn’t Kill Me’ is blisteringly good. But one thing for sure Pardon Us aren’t hanging around as one track clashes into the next and they leer from one with a strong riff to one with a strong melodic chorus, theirs is a great turn of phrase to a great gang vocal sing-along chorus but its not all bluster and bravado some of the guitar solos are restrained and thoughtful ‘To, Two, Too’.
There’s a jour de Vivre about a lot of this record – a confidence in what it is they’re doing. I think it’s fair to say Pardon Us knows how good they are. ‘Safety Net’ is a powerful bass chug that is layered with a sprightly off-kilter beat towards the chorus when the chords jar to what is a great song. Not a million miles from the honest wholesome Billy Liar songwriting school.
‘In The Loop’ has a video to accompany it and it seems an obvious choice for a single but then you could pick anything off this album its all pretty accessible. If these were Americans they’d be a big noise on the punk alternative scene with the likes of Bad Religion – I kid you not.
I guess hashtagging themselves as melodic punk is a bit of a disservice they’re more than that and this album signs off with a thoughtful ‘The Last Word’ a perfect way to sign off another hugely impressive outing from Pardon Us – do yourself a favour and don’t pass them by, stop have a listen – check em out and thank me later. Buy it!
Buy Seamless Here
Author: Dom Daley
Doesn’t really need an introduction but here goes – Jesse Malin pays tribute to NYC hardcore legend and former bandmate in both D Generation and Malins St Marks Social. It features Bad Brains Legend H.R as well and you can order the 7″ via Bandcamp from Wicked Cool Records.
‘In the Shade of the Wild Oak Tree’ – from the album ‘Wrapped up in Ribbons’ by Craggy Collyde is up next and the 10″ record can be purchased from their Facebook page also shipping from the UK.
Finally, check this one from The Hawkins taken from their new album out this week on The Sign records.
‘CLANG! Smiley Drops A Few’ is the brainchild work of Steve Barnard, better known (by everyone!) as Smiley! He is best known as a drummer, songwriter, producer, and owner of his own, Sunshine Corner, studios. Smiley has, over the past 25 years, played with a plethora of the great and good (and, sometimes, not so good) of the music industry. His CV is littered with artists such as, Robbie Williams, Joe Strummer, The Mock Turtles, From The Jam, The Alarm, and, Archive; to ‘CLANG!’ just six. This book is packed full of stories around many years of live shows, tours, TV, Radio, festivals , pub gigs, corporate events, and, often hilariously, weddings. It gives an amusing insight to life from inside the music industry, a view from the back of the stage, but also from the next door dressing room. There are, inevitably, highs and lows; but all are approached, and told, in Smiley’s own, inimitable, way. Smiley engagingly recalls stories connected to all sorts of showbiz luminaries, from Liam & Noel, Weller, The Who, The Foo Fighters, and The Chili Peppers; right through to encounters with Sting, Zoe Ball, East 17, and Peter Andre. One of the great joys of the book is the tongue in cheek style in which these stories are recounted. It’s not in any way boastful, but chock full of showbiz inspired anecdotes; hence the title, ‘CLANG!’. Everybody loves a name drop, and this book is stacked high in funny, and off the wall, stories. If you like a good old tale about a household name (and, let’s face it, who doesn’t?) then this is definitely the book for you.
It almost took as long to write in the Tags for this book as it did to rip my way through the pages such is the vast collection of Clangs Smiley drops. I wouldn’t have liked to be the person carrying the bag of Clangs or picking them up every time he dropped one. The one thing you do try to get your head around is just how varied the people Smiley has sat in with its simply a staggering amount of folk and how the guy still manages such a huge grin is amazing.
C’mon we all love a Clang! I know I do and knowing about the guy’s musical history and having seen him play dozen and dozens of times over the years I found I was laughing out loud with every Clang and as I turned the pages had to check nobody was watching me chuckle or I’d have been committed to a special hospital.
Buy ‘Clang!’ Here
Following the recent reissues of ‘Honked All Over Again’ and ‘As Your Greens Turn Brown’, Wild Kingdom continue their Diamond Dogs ‘First 10 Years’ reissues with release number three. ‘Weekend Monster‘ brings together their two classic, long out of print EPs ‘Among The Non Believers’ and ‘Shortplayer’ on one sexy slab of coloured vinyl, with a new running order and cool as you like new artwork.
Laid down in a session just before the recording of ‘As Your Greens Turn Brown’ in 2000, ‘Among The Non Believers’ was meant as a taster for the upcoming second album from Sweden’s best kept rock ‘n’ roll secret. Again in 2001 ‘Shortplayer’ was a snapshot of what to expect on their third (and finest) album ‘Too Much Is Always Better Than Not Enough’.
Legendary producer Tomas Skogsberg takes the helm as usual to capture the 70’s vibes to the max, and it’s the classic line-up on these recordings. So joining long time singer/entertainer Sulo and keyboard wizard Henrik (The Duke Of Honk) Widen are the likes of Bobby Lee Fett, Mattias Hellberg and Stevie Klasson lending their guitar and vocal prowess.
The raw recording and deliver y of the title track is a perfect way to open proceedings. A melting pot of The Rolling Stones, The Faces and The New York Dolls is pretty much as good as it gets. An anthemic, live favourite that set in stone the classic sound that this band would take as their own. Guitars all over the shop, swathes of Hammond, but it’s the gritty vocalisin’ from main man Sulo that steals the show.
Up next ‘Throw It All Away’ is as good as it gets. Stabs of keys, guitars delivered from the crotch and a classic, timeless chorus. Could a song be any more 70’s sounding in 2001? Creating a sense of euphoria in music is not an easy thing to achieve, but Diamond Dogs deliver in spades again and again. With its lazy, rock ‘n’ roll riff and great percussion ‘Lunatic, Eye Rolling Delivery’ is a late night, boogie-woogie jam. Juke joint music, designed to share a whisky and a dance with friends. It sounds like it was recorded live in one take, fuelled by wine, women and last night’s party…I could be wrong!
Like a fine red wine, Diamond Dogs songs age well. And it’s safe to say 20 years on that these 10 songs sound as fresh and vibrant as the first day I heard them. Although I must admit to playing these two EPs and the following third album to death when I first got my hands on them. (On a third generation cassette I hasten to add) Remember, no one was doing this sort of rock n roll around the turn of the century. Punk pop was the flavour of the month and to quote Lenny Kravitz; “rock and roll is dead! “
But Lenny was wrong. You may have forgotten, or you may not even be aware how many classic songs this band has in their arsenal. Its song after song, even with these hastily recorded and put together EPs. I mean c’mon…’Poison Honey’ is heartfelt balladry at its best, and ‘Passing Through My Heart’ could’ve been a long lost Faces ballad for sure. The beautiful backing vocals giving that Jagger/Richards vibe that many copy but rarely match. English isn’t his first language, but Sulo is hands above his contemporaries in mastering the English language in the context of heartfelt rock ‘n’ roll.
They tip their collective hat to their influences with two choice cover as well. The New York Dolls ‘Pills’ is suitable raw and ramshackle, but The Stones ‘Connection’, I feel they actually make it their own here, what do you think?
The fact that these 10 tracks were ‘between album songs’ not destined for general release is testament to the quality of songs Diamond Dogs have at their disposal. And while they went on to release many quality albums through the ensuing years, I feel the band reached their pinnacle with their third album ‘Too Much Is Always Better Than Not Enough’.
All great bands have a magic period where they can do no wrong and the songs just flow, seemingly out of their control, as if written by someone else. For me, Diamond Dogs golden period was between 2000 and 2002 and therefore this album is an essential vinyl purchase.
Buy Here
Author: Ben Hughes
COMPULSIONS Announce Release Date; GUNS N’ ROSES, ROLLING STONES Covers Available With Pre-order
It’s been five years since front man Rob Carlyle and his Compulsions cohorts released their widely and wildly acclaimed sophomore album, Dirty Fun. Like previous Compulsions output, Dirty Fun was an underground rock ‘n’ roll masterpiece, inspiring critics to describe the independent New York band in the most glowing terms imaginable. Take, for example, revered webzine PleaseKillMe.com, with its gushing and highly provocative headline: “Move Over Axl! Here Comes Rob Carlyle & The Compulsions!”
What’s more, these rave reviews often compared The Compulsions extremely favorably to a long list of rock luminaries such as Aerosmith, Faces, Lynyrd Skynyrd, The New York Dolls and even The Rolling Stones.
But despite such widespread acclaim, mainstream success would elude Carlyle with the subsequent disintegration of his much buzzed-about core line up: guitarist, Richard Fortus, bassist, Sami Yaffa and drummer, Frank Ferrer.
Yaffa, also known for his time with Hanoi Rocks and the aforementioned Dolls, would move back to Europe so he could fully devote himself to making music with longtime buddy and hair metal progenitor, Michael Monroe. While Ferrer and Fortus would choose to continue performing to mixed reviews as replacement players in Guns N’ Roses on their seemingly never-ending Not in This Lifetime Tour.
These departures were crippling blows that would’ve caused a lesser front man to call it quits – but that’s not Rob Carlyle’s style.
Too determined (and perhaps too crazy) to simply fade into obscurity, the shaggy-haired vocalist/guitarist instead hunkered down and went back to doing what he does best: writing and recording today’s most dark, dirty and dangerous rock ‘n’ roll songs – and the resulting album, Ferocious, more than lives up to its name.
Past Compulsions releases Beat the Devil (2011) and Dirty Fun (2015), were ambitious albums of staggering scope and size and Ferocious certainly follows suit, with everything from old-school roots rock to back-alley sleaze-punk to funk-metal mayhem.
Furthermore, to help flesh out the tracks, Carlyle enlisted the very best local musicians he could find, including world-renowned guitarists, Earl Slick and Ron “Bumblefoot” Thal, best known for their work with David Bowie and Guns N’ Roses, respectively; along with former Raging Slab bassist, Alec Morton, and former Dolls drummer, Brian Delaney, who replaced Ferrer midway through production.
Music fans starving to hear from a real deal rock ‘n’ roller, instead of what passes for talent in today’s music world, are sure to lose their minds over the super rootsy “Born on a Landfill,” “Ferocious,” “Killer in the Woodshed,” and “Man with No Name,” the metallic madness of “Addicted,” “Band of Thieves,” “Dirtbag Blues” and “Funk #666,” and of course the drastically overhauled twin covers, “Dead Flowers” and “Dust N’ Bones.”
Carlyle explains the choice of covers on Ferocious:
“Ever since I started The Compulsions, the idea was to create a sound that lives somewhere between The Stones and GN’R. Like if you put Sticky Fingers and Appetite for Destruction in a blender. So, this time around, I thought let’s just spell it out for people by actually covering those two bands. I’ve always loved ‘Dead Flowers’ and ‘Dust N’ Bones,’ anyway, and I had a pretty good idea of how to put our own spin on those songs.”
The long-awaited Ferocious will finally be available via Amazon, Spotify and other outlets on Friday, November 13, 2020 – but eager rock fans can grab advance tracks “Dead Flowers” and “Dust N’ Bones” today by pre-ordering Ferocious right now from iTunes.
In addition to announcing a November 13 release date, a third teaser video for Ferocious has been posted by The Compulsions, with Carlyle, Bumblefoot, Morton, Ferrer and synth wizard, Andrew Sherman, performing “Funk #666” as the apocalyptic soundtrack. It’s an epic number where funk collides with metal and gets scorched to a crisp by the face-melting fretwork of Bumblefoot.
“I love all the tracks on Ferocious. But the music and lyrics of ‘Funk #666’ seem to really capture all the doom and gloom going on in the world today – and what’s kinda eerie is I wrote that song five years ago!” says Carlyle.
Check out the brand-new teaser video featuring “Funk #666”
And don’t forget, you’ll instantly get advance tracks “Dead Flowers” and “Dust N’ Bones” when you pre-order Ferocious right now from iTunes! Your ears will thank you for it!
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