Hogs – Fingerprints

Playing hard rock with a tantalising blend of funk, blues, and other varied flavours to it, Italian band Hogs have just released second album Fingerprints. It is an encounter which builds on a debut from Italians which certainly courted keen attention and has all the imagination to take the Florence outfit to a far broader placed audience.

The band’s seeds began in 2012 with guitarist Francesco Bottai, bassist Luca Cantasano, and drummer Pino Gulli; their creative union the spring board for the emergence of Hogs. The band’s line-up was subsequently completed by vocalist Simone Cei. 2015 saw the release of debut album, HOGS in fishnets via Red Cat Records who the band has again linked up with for Fingerprints. It was an encounter openly suggesting potential and imagination within its accomplished body; intimation now realised within its highly enjoyable successor.

Fingerprints opens up with Man size and instantly chunky riffs tempt with tenacious rhythms in close quarter. As it settles down, a blues spicing fires up within its classic rock setting, Cei’s potent tones at the core matched by the guest vocals of Carlotta Cocchi. Catchy in its swing, robust in its touch and wonderfully unpredictable in its enterprise, the imagination is soon caught in its drama, its array of styles and flavours woven into one strong magnetic start.

Stinking like a dog follows and is instantly casting a tantalising shuffle shaped by the dextrous swings of Gulli and the animated touch of Botta’s guitar. Hips could not escape the effect of the song’s swing, its funkiness, driven by the excellent tenacity of Cantasano’s bass, soon getting under the skin.

The infectious exploits of Mr. Hide is just as manipulative; its bluesy stroll and melodic rock shaped tempting a captivating launch to sonic flames and vocal reflection before making way for the warm sonic climes of Australia summerland. Again there is a classic rock breath to the song and though it misses the more unpredictable and adventurous twists of its predecessors, it leaves ears and appetite more than satisfied especially with the individual craft of the band in full display.

The jazzy air and touch of Down to the river needs little time to stir the imagination next, its reggae flavoured instincts just as magnetic as the organ of Federico Pacini; its inviting sway and the heart bred expression of Cei, a rich lure on top.

Across the likes of the boisterously magnetic Another dawn and the rousingly raucous Man of the score, enterprise and imagination fly from the speakers. The second of the pair is especially compelling with its animated rock ‘n’ roll while the increasingly captivating Can’t find my home is a web of alternative, hard and blues rock which teases with the familiar and refreshes with the individual. Pacini adds his keys to the escapade once again as too in Jewish vagabond which follows, this song a ballad with a lively smoulder and melodic elegance which too just became more magnetic by the minute and play, country borne sighs courtesy of Paolo Giorgi’s peddle guitar adding to the sunshine of the song.

Both songs relish the imagination open in varying degrees within the album, unexpected turns which surprise among more recognisable strains of enterprise and to be found within the closing pair of Don’t stop moving and Just for one day. The excellent first is one of the songs which seems so familiar from start to finish yet only pleasures and recruits keen participation alongside the imagination. The final track is a calm emotively cast ballad; a sunset of melodic and vocal intimation which caresses as potently as it flames around ears.

It is fair to say that the Hogs sound is not one we would naturally be drawn to but Fingerprints is a release we just took too. It is one which also grew in potency and persuasion play by play so worth a good look at we reckon.

Fingerprints is available now through Red Cat Records/7Hard now through most stores.

https://www.facebook.com/hogsband

Pete RingMaster20/05/2018

Copyright RingMaster: MyFreeCopyright

Paola Pellegrini Lexrock – Lady To Rock

Professional criminal lawyer by day, devout rock guitarist/singer/songwriter by night, Paola Pellegrini is an Italian artist with numerous strings to her bow and a sound just as versatile. She plays rock ‘n’ roll, a collusion of hard rock, punk, and metal which as proven by new album Lady To Rock is very easy to raise a healthy appetite for.

Hailing from the city of Florence, Pellegrini has been playing and writing songs since a child. Having played with various bands she began her solo career as Paola Pellegrini Lexrock, releasing her debut album Agape in 2013. Two years its successor, Dreams Come True was unveiled through Qua’ rock Records. Lady To Rock is her new collection of songs; a release which maybe evades major surprises in some ways but embraces fresh adventure in far many more.

For Lady To Rock, Pellegrini linked up with bassist Franco Licausi, who played for 20 years with Negrita and currently with Litfiba, and drummer Simone Morettin of folk metallers Elvenking. Produced by Giuseppe Scarpato and Paolo Baglioni at Wall Up Studio in Florence and mixed and mastered by Giovanni Gasperini, the album roars into life with No Half Way. Instantly riffs and grooves surround ears, rhythms punchy company before the quickly engaging tones of Pellegrini step forward to complete a potent persuasion. A tenacious slice of heavy rock ‘n’ roll, familiar but infectiously magnetic, it provides Lady To Rock with a great start to.

It is a beginning though which is quickly built upon by the excellent Lovely Man. More restrained in its charge but even more enticing in its hooks and beats, the track strolls long like a blend of The Kut and Australian outfit Shadowqueen. Punk and hard rock are brought together in its virulently infectious temptation, a rousing concoction which easily had us bouncing, the following Avuta Mai matching its depth of persuasion. The only non-English sung track on the release, it is an inescapably catchy proposal unafraid to slip into sonic shimmers and unpredictable twists as raw riffs and melodic enterprise unite behind Pellegrini’s vocal prowess.

The catchy prowl of Cut The Chains similarly had ears and attention wrapped round inventive fingers, the song teasing with its confident swagger, seducing with its melodic and harmonic captivation before Endless Begin uncages Pellegrini’s punk heart with simultaneous energy and grace. We mentioned that across the album, uniqueness was second to familiar strains and aspects of rock but as this excellent track proves, songs still comes with an individuality and adventure which sets album and artist as one appetising proposal.

Through the raw rock hues of Wild Shot, a Plasmatics meets Girlschool spiced stomp, and the pop rock exploits of Making Love Forever, variety, enterprise and pleasure rise in tandem while What I Like sonically grumbles and melodically serenades with imagination fuelled contagion. As with all tracks, little time is needed for hips to swing and enjoyment to boil up; fun and anthemic persuasion in close quarters as echoed yet again within You Better Believe. It too had participation engaged within moments of its first play; a magnetic slice of rock ‘n’ roll very easy to be manipulated by.

The album concludes with All My Love Has Gone, a final cut of all that is good about the fiercely enjoyable Lady To Rock. As its companions, the song feels like a friend even before it runs through its first verse, even as soon as its first clutch of chords, yet is as tantalising and refreshing as any track on any rock album heard so far this year. At its core rock ‘n’ roll is about great times, boisterous fun, and arousing spirits something Paola Pellegrini proves very adept at creating with Lady To Rock.

Lady To Rock is out now via Red Cat Records / 7Hard across most digital stores.

http://www.lexrock.it/    https://www.facebook.com/paolapellegrinilexrock/   https://twitter.com/PaolaLexrock   https://www.instagram.com/paola_pellegrini_lexrock/

 Pete RingMaster20/05/2018

Copyright RingMaster: MyFreeCopyright

The Senton Bombs – Mass Vendetta

SB_RingMasterReview

There is nothing better than watching a band which catches the ear build on previous successes whilst pushing themselves and sound. UK rockers The Senton Bombs is a band which consistently manages that impressing trait and has so again with new album Mass Vendetta. The band’s most diverse and boldly adventurous offering yet, the eleven track stomp sees the band pushing into feverishly imaginative and variety spun territories whilst still rocking like a bitch in season incited hound.

Formed in 2004, the Blackpool quartet seemed to hit the ground running in sound and attention, become a greedily devoured live proposition matched in support for their early releases including a pair of well-received albums. Fair to say though as successful as they were, the band really hit the spot on with Chapter Zero in 2013. In many ways it was a landmark in the band’s growth, The Senton Bombs honing their persistent embracing of varied flavours and styles into something which really set the band apart from the crowd. Various singles and the excellent Phantom High EP of 2014 saw the band pushing their fusion of hard and blues rock fired punk ‘n’ roll on again; their rousing and inventive stomps heavily nudging on worldwide awareness which this fourth album will surely only ignite.

Such its bold step forward from its predecessors in imagination and character, though hindsight shows the seeds were already openly audible in past releases, it took ears a first listen to get to grips with the Ronnie Bomb produced encounter. From there though, it was full steam ahead as body and imagination got eagerly involved with the album’s dramatic roar which starts with recent single Trailblazer. From its initial percussive coaxing, spicy grooves spiral out, wrapping eager ears as rhythms add their thick thump. The potent start is soon stirred up further by the recognisable grainy vocal tones of bassist Joey Class and his bass’ similarly familiar throaty sound. Equally, the imaginative twists and turns which emerge as melodic calms and clean vocals collude with fiery expulsions and energetic tenacity only increase the song’s potency. Further encasing ears in a blues lined sonic web cast by guitarists Damien Kage and Johnny Gibbons, the great track is a pungent hint of things to come with its entwining of unpredictable and dynamically varied textures.

art_RingMasterReviewMainstream comes next, a track already soaked in acclaim as a single last year. It opens on similar blues laced grooves to its predecessor, they entangling the rampant swings of drummer Scott Mason before things relax a touch as bass grooves join those of the guitars and Class’ always alluring and anthemic vocal delivery. Rising strands of creative theatre and rousing energy adds to the brewing drama and contagion of the track, the album itself increasingly gripping an already eager appetite as it heads towards an even headier plateau through the following pair of Train Wreck and Out West. The first of the two grips ears straight away through Mason’s rolling beats alone; only increasing its persuasion as flirtatious riffs and grooves joins the rapacious energy fuelling a rockabilly courting slice of bracing rock ‘n’ roll. Like Turbonegro meets The Pirates, the track has the body bouncing and appetite greedy before its successor explores a melodic and emotively enticing landscape. The song is as virulently catchy as anything on the album but takes the band into new creative scenery with its melody evocative and emotively inspired alternative rock balladry with a definite Midnight Oil feel to it.

The album’s title track strolls boldly in next, its feisty punk ‘n’ roll a rebel rousing exploit for body and spirit led by the scything beats of Mason and Class’s attitude soaked tones. The track is simply rock ‘n’ roll to lose control to, a mosh pit inciter and rebellion instigator which just needs to be the next single. Then again that can apply to numerous tracks within Mass Vendetta, as the contagion bulked 13 Days instantly proves. Riffs and hooks dig deep, anthemic vocal and energy infests, and rhythmic predation only excites as the track throws itself around like a creative dervish.

Allowing a breath to be taken, Avalanche saunters in next, sharing surf rock flames across its sultrily ambient skies and gravelly smouldering vocals. Unsurprisingly, the song also has an edge to its heart and creative nature which magnetically contrasts with the almost exotic hues and bracing emotion sharing their tempting.

Back to next single choices and the blazing romp that is Pretty Tricky makes a loud shout. Hard and punk rock meets classic and glam spiced rock ‘n’ roll, the track has feet involved by the end of its first torrent of chords and burst of rhythmic rampancy, the voice on board within the first round of the seriously addictive chorus.

Wedlock Horns brings another irresistible twist to the album, its reserved but eager entrance providing eighties rock/new wave flirtation from which Class and band swing with a southern blues infused revelry which again has restraint but stronger zeal in its lively heart. If without leading the body into bad habits, the song enthrals just like the folk punk lined Red Shield. With Class’ cleans tones as compelling as the lyrical drama and incitement, the track sublimely grips ears and imagination whilst sharing its emotive snarl.

Mass Vendetta closes with the highly enjoyable Apex, another imposing and predacious slab of infectious hard/punk rock brawling giving the album a rousing finale and the listener one last reason to hit the play button again. As in some ways expected, the band has moved on again in sound and invention but this time with their biggest leap in creative diversity and bravery yet. If it did not already, the world is about to know all about The Senton Bombs.

Mass Vendetta is released April 15th via 7Hard @ http://sentonbombs.com/store

http://www.sentonbombs.com/   https://www.facebook.com/thesentonbombs

Pete RingMaster 05/04/2016

Copyright RingMaster: MyFreeCopyright

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