The Senton Bombs – Outsiders

It is fair to say that any news of something new from UK rockers The Senton Bombs has us licking our lips in anticipation. Four spirit rousing previous albums among just as potent singles and EPs has fuelled that reaction with each encounter building on the exploits of its predecessor and pushing the Blackpool hailing quartet to the mass recognition and attention we with so many feel they deserve. The band’s impending fifth and new album, Outsiders, continues that trend sparking excitement in appetite at the prospect of something special whilst taking the band’s songwriting and sound to another level of prowess and adventure.

Perpetually varied and flavoursome in its styles and character, the band’s rock ‘n’ roll has eagerly evolved and grown up across their albums. With every offering The Senton Bombs has pushed it and themselves to new areas and adventures but all the time reinforcing the recognisable individuality of their music. With Outsiders, the band has aligned their ever ready punk ‘n’ roll instincts with southern and classic rock scented endeavour on the hard rock side of their sound; the result, a rousing and raucous collection of multi-flavoured and variously delivered anthems as familiar to the band as they are unique.

The album erupts into life with its title track, Outsiders entering upon punchy rhythms and sonic stabs as the ever enticing vocals of bassist Joey Class open up their declaration. With attitude and defiance at its core in sound and word, the track prowls with a swinging hard rock swagger lit by the flames and enterprise of guitarists Damien Kage and Johnny Gibbons. The throaty throb of Class’ bass resonates throughout, adding a darker threat to it all as the bold swings of drummer Scott Mason descend. It is a controlled but dynamic start to the release, an ear and attention grabbing statement of intent swiftly backed and built upon.

The band’s new single, Who We Are, does both with relish and tenacity straight away. The devilishly earthy stroll of the bass instantly had imagination and appetite hooked, its inescapable lure aligned to the perpetually lively dynamics of Mason’s rhythms. Both continue to arouse and manipulate as guitars and vocals join the song’s incendiary holler; a union brewing a delicious slab of punk ‘n’ roll as virulently catchy as it is rapaciously invasive.

From one major highlight of the release to another as Violet Black follows unleashing its own rock ‘n’ roll trespass. With each album Class has developed his vocal presence, almost developing a two sided proposition. Here he returns to the grainy delivery which partly trademarked the band’s sound from day one and is always a welcome essence to their creative diversity. The track itself is a boisterous slice of punk rock with a blues rock lining and hard rock virility.

If the previous track is headstrong, I Am Ablaze is an insatiable hell-raiser of sound and rowdiness; an anthem epitomising the band’s live sound as much as its rebel rousing heart. Raw and feral yet skilfully woven to create a hellacious roar the track is superb; The Senton Bombs at their rabidly infectious best leaving next up Reckless Youth a tall order to match. That it does though by revelling in the calmer side of the band’s attack, growing from a melodic shimmer into a contagious stroll led by the inspiring swings of Mason. Reflecting on times past as youths into the seeds of the band stirring things up today, the song is a bold smoulder compared to the fires that are its companions but just as magnetic and riveting

Across the irresistible country blues rock scented saunter and vivacious swing of Bury The Hatchet and the mellow southern surf kissed croon of Remind Me Of The Moon, the album simply blossoms in its variety of sound and imagination while Dead Revolution immediately had body and spirit addicted to its Misfits laced  darkly hued rock ‘n’ roll. As ever hooks escape the band with instinctive agility, riffs and rhythms offering their own spiky bait to get hung up on as vocals lead the way. Similarly the individual craft of Kage and Gibbons masterfully gets under the skin alongside the equally devious antics of Mason and Class’ bass.

Video is a track which would fit as perfectly within the confines of previous encounters such as Chapter Zero and Mass Vendetta; a trademark rather than formula Senton Bombs song easy to devour greedily before Under Offer hits the spot dead centre with its fifties scented modern punk infused rock ‘n’ roll. Reminding of another band deserving mass attention in Canadian outfit The Black Frame Spectacle, the track is a stomping viral temptation.

Wake The Maker brings the album to a close with its classic/hard rock melody shaped howl and though it did not personally excite as those before it, the song is a richly satisfying conclusion to an album which we can only suggest is the finest offering from The Senton Bombs yet.

Global attention is long overdue for the band we strongly suggest but maybe about to be seriously poked by Outsiders, a release and title which sums up the band’s sound and presence within rock ‘n’ roll and the individuality which will always make them stand out and excite.

Outsiders is released November 5th via Regolith Records.

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

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Chasing Dragons – Faction

There is no doubt there has been plenty of eager anticipation for the debut album from British rockers Chasing Dragons, especially since the release of their last EP, Faction: Prologue, a couple years back. It was a kind of teaser for the band’s first full-length, unsurprisingly called Faction, which built on their earlier offerings and successes whilst peering into a whole new landscape of sound and imagination, indeed intimation now fully explored and expanded within the new encounter where we would suggest, the Chasing Dragons sound has come of age.

The time since the last EP has also seen the Leeds outfit truly establish themselves on the UK live scene with a big reputation to match, Chasing Dragons sharing tours and stages with the likes of Stone Broken, The Qemists, Skid Row, SikTh, InMe, Diamond Head, Aaron Buchanan and The Cult Classics, Courage My Love, Skarlett Riot, Theia and many more. Featuring nine new songs along with re-recorded versions of the three tracks from the Faction: Prologue EP, the album swiftly ignites attention and imagination with opener Factionless. Part intro part full intimation, the track stretches up from its initial arousal on the ever striking tones of vocalist Tank. Like a flame within unsettled atmospherics, her potent presence is a rich lure and spark for the outstanding piece’s subsequent shadow bound predacious stroll. Portentous yet virally inviting, the track masterfully erupts before making way for the melodically inflamed How The World Went Black. Guitarist Adam quickly spins a web of metallic temptation woven with melodic rock enterprise whilst the track bites through the determined beats of Katie, they courted by the dark rumble from Murf’s bass. Progressive hues emerge as the song evolves, technical craft lining its invention as all the while Tank radiates with her powerful and impressive delivery.

Amongst the band’s influences stand artists such as Halestorm, Avenged Sevenfold, and Bullet For My Valentine, all open spices to the band’s individual recipe as proven again by the melodically vociferous roar that is Parasite and the dramatic exploits of Like Gravity. The latter is a tempest of textures and flavours carrying a volatility which accentuates its warmth and elegance rather than devours them. As many tracks, it is a proposition which grows by the minute through new twists and avenues, all unpredictable and each an imaginative turn along the track’s magnetic journey.

 Through the equally tense Bareknuckle Lover, the mercurial attack of the track as alluring as it is resourceful, and the lively emotive roar of For Kingdom For Glory, Chasing Dragons continue to add fresh adventure to their release. The second of the two in some ways promises more than it delivers, certain inventive moments not exploited as much as personal tastes wished yet is still a gripping snare of sound.

The calmer climate and croon of This Time Is Ours allowed a breath as it simply enthralled though it too has a sprightly nature which eventually catches fire with Adam casting another striking blaze veined with mazy temptation before the riveting Devil In Her Eyes wound eager attention around its tantalisingly creative fingers and in turn The Connection takes ears on a saunter through gothic lined shadows and emotionally suggestive caresses before subsequently erupting into a furnace of muscular sonic theatre. The second of the trio is especially irresistible, every moment a clever thread into the next unexpected and virulent turn of the song though then pretty much matched in glory by its successor.

As the classic seeds of the similarly impressing I’m No Devil (I’m Just A Girl) catch fire within its metal/heavy rock drama and Whitehorse teases and fascinates, the album continues to reveal new aspects in sound and craft; the latter’s haunting opening passage an especially mouth-watering incitement for ears and imagination which hints at new corners and corridors for the band to explore ahead.

We Are The Wall concludes the release, the track a ravenous onslaught of sound and intent driven by rapacious rhythms and coloured by wiry grooves and rich melodies as Tank for a final time powerfully incites thoughts as she potently roars.

It is a fine end to an equally ear-catching album which as suggested declares Chasing Dragons at a new level in songwriting, sound, and performance, a plateau teasy to suspect the metal/rock world will be unable to ignore.

Faction is available now across most online stores.

Chasing Dragons November 2018 Faction Headline Tour

 2nd – Manchester – Satan’s Hollow – support Ward XVI, Soul Desire, Fear Me December

3rd – Croydon – Croydon Rocks Fest

4th – Southampton – Joiners – support Novacrow + TBC

6th – Norwich – Brickmakers  – support The Killing Culture + TBC

7th – Birmingham – Hammer & Anvil – support Novacrow + TBC

8th – Nuneaton – Queens Hall – support Novacrow + Simai + Fleer

9th – Stamford – Mama Liz’s – support Synthetic + Black Hawk Down

10th – Wakefield – Black Mass – support Novacrow + The Sourheads + Seas Of Scarlet

https://www.chasingdragons.co.uk/   https://www.facebook.com/chasingdragonsuk/   https://twitter.com/xchasingdragons

Pete RingMaster 18/10/2018

Copyright RingMaster: MyFreeCopyright

King Zero – Sonic

What can we tell you about US outfit King Zero? Well very little actually apart from it is a quintet from Dallas which recently released the very appetising Sonic EP and offers a bluesy melody rich sound which has drawn comparisons to the likes of Black Sabbath, Grand Funk Railroad, Tom Petty, Eagles, and Black Oak Arkansas. Anything other than that we have yet to discover but quite honestly their latest release does all the talking for them whilst casting plenty of reasons why to give them continued attention.

Made up of four tracks which suggest a brewing broadness to their sound, the Sonic EP swiftly grabbed eager ears starting with opener Black Stoned Heart. Straight away the senses are wrapped in inviting sonic strains of guitar, a groove springing lure soon joined by an eager rhythmic swing. The potent tones of vocalist Paul Renna step into the growing blues fuelled enterprise soon after, his earnest croon aligning with the melodic craft of guitarists Dave Self and Chris Jackson. As further shown by the release in general, there is an open familiarity to the band’s sound and certainly they are not reinventing the sonic wheel but as the first track alone proves, King Zero is definitely giving it a new fresh lick of craft and imagination.

It is a great start to the EP quickly backed and eclipsed by In Your Eyes. Straight away spicy hooks are cast around ears, arousing a greedy appetite as they continue to nag and seduce as vocals and rhythms collude. A stoner-esque hue adds to the song’s magnetic character and holler, the swinging beats of Todd Hatchett inciting further captivation in league with the similarly alluring dark breath of Chris Ivey’s bass. Emerging as our favourite of the four through its rapacious grooving alone, the track highlights all the essences which are beginning to draw richer attention upon the band.

 Into the Light follows with a calmer touch to its southern laced croon within a melodically flaming classic rock breath and though we cannot say that it grabbed us as richly and firmly as its companions, from vocals to melody, united to individual craft, the track more than pleased whilst adding another hue to the band’s colourful sound.

Final track, Fuel the Fire, needed little time to get under the skin in comparison, the time it took Ivey’s bass to move through its first rumbling riff enough to reel us in. The trap is soon firmly shut by grunge lined grooves which just spill temptation and a vocal prowess that lures; an attention demanding end to a release which commands the same depth of fixation.

Sonic is also an offering which blossoms further by the listen. Musically it is not particularly unique but everything about it is creatively magnetic and as fresh sounding as you could wish; as we intimated earlier they reasons enough to keep King Zero on the radar.

The Sonic EP is out now on Spotify and @ https://itunes.apple.com/us/album/sonic-ep/1434199784

http://kingzeromusic.net/  https://www.facebook.com/kingzeromusic/   https://twitter.com/kingzeromusic

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

The Alive – We are Rock and Roll

It is hard to think of too many bands which perfectly sum up their spirit, energy and intent as well as sound through name and the title of their debut album. The Alive certainly do so with their moniker and first full-length, We are Rock and Roll, its title echoing simply what the band does, create instinctive rock ‘n’ roll and there is no denying it was an encounter which truly got under the skin.

Leaping out of Fort Smith, Arkansas, The Alive consists of vocalist/guitarist Taylor Glasgow, guitarist David Bateman, bassist Curtis Kennedy, and drummer Tracy Duty. From the off the quartet “knew they wanted to create fun, high energy music that you could feel deep in your bones and shake your soul making you stomp your hands and clap your feet before you even knew you were.” Additionally, according to the album’s press release, the band equally “wanted to write music that pays tribute to their influences.” We are Rock and Roll proves their success at both. The latter aim has maybe led to the band’s sound not being the most unique but it is as fresh and rousing as a hurricane and often hits with the same impact.

Signing with Eternal Sound Records this past February for the release of their Kyle Simpson produced debut, The Alive immediately set the scene and tone with album opener This Is Rock And Roll. The groove cast by the bass to set things off is pure intimation of things to come and instantly has hips swinging. A sonic trespass of guitar triggers the track’s eager stroll, Glasgow’s potent vocals quickly adding to the boisterousness flooding ears. Blues hues only add to the temptation, a slice of creative nagging which had the body bouncing and vocal chords tuning up in no time.

The excellent start only continues through the following Where Are My Animals, the track alternative rock with a classic rock nature and equally as manipulative as its predecessor. Duty’s rumbling rhythms drive song and reactions as guitar and bass incite and encourage further participation. Glasgow’s vocals again impress and incite involvement, the track captivatingly galvanic rock ’n’ roll.

If I Could Save You and Its Hard Enough So Why Do You Wanna Be Alone Tonight quickly shows that The Alive can also write tracks with calmer control and thicker emotion. Another easy to devour offering, the first of the two certainly has an eager swing to its gait and energy in its heart but reined in with enterprise which does not defuse its inherent catchiness. A slight Sick Puppies scent does it no harm either while the second is an evocative ballad which grew more compelling by the listen if without quite reaching the heights of its earlier companions.

Through the melodic canter of Mad World and the tenacious All The Way To Babylon enjoyment is only concentrated, both tracks the kind of contagion which welcomingly lingers. Even so each is eclipsed by the darker prowl of All My Friends Are Vampires, a hard rock infused proposal with a predacious edge to its emotive declaration.

While next up Lemon Crush could not evoke the same lusty reactions as other songs, it had the body bouncing and ears firmly keen in its lure before Perfect Plastic brought yet another flavour to the release with its grungy holler. Winding around ears with its rich grooves as a dirty lining merges with the flames of keys, the track seductively saunters but all the time intimating a volatility which never escapes but magnetically simmers across the excellent track.

Closing with firstly the blues rock kissed croon of City In The Sky and finally a cover of Aerosmith track Dream On as a bonus, both songs leaving thick satisfaction in their wake, We are Rock n Roll is one of those encounters so easy to spend time with and to give plenty to whilst announcing The Alive as a rather promising proposition on the international rock scene.

We are Rock and Roll is out now via Eternal Sound Records across most major online stores.

https://www.facebook.com/thealiverocks/

Pete RingMaster 25/09/2018

Copyright RingMaster: MyFreeCopyright

Smash Fashion – Rompous Pompous

With a mere but rather tasty single in between, it has been a long wait for the successor to their highly enjoyable and highly praised third album Big Cat Love but finally US rockers Smash Fashion have unleashed its successor in the shape of Rompous Pompous and a devilishly mischievous and captivating proposition it is.

Eagerly anticipated, the album lives up to its excellent title with eleven slices of multi-flavoured rock ‘n’ roll which romp and stomp in a way only the La quartet can. As ever the band feeds on rich rock essences from across the decades; everything from fifties rock ‘n’ roll, sixties mod and psychedelia through to seventies punk/new wave aligned to eighties glam and hard rock going to flavour a sound just as spiced by subsequent years and modern enterprise. As its predecessor, Rompous Pompous is an adventurous and lustily fun stomp with the band but with even keener diversity and a sharper definition to its writing, performance, and character.

It opens up with Can’t Take You Anywhere and straight away a potent hook with something more than familiar to it keenly entices. It is just a lure though into the song’s own invention with the vocals of guitarist and band founder Roger Deering swiftly to the fore. Its classic rock breeding is littered with new wave and seventies pop rock flirtation, the tenacious rhythms of bassist Scarlet Rowe and drummer Reijo “Repo” Kauppila driving its boisterous stroll as lead guitarist Lloyd Stuart Casson weaves real temptation within the just as magnetic tease of keys.

It is a potent start to the release ensuring attention is firmly on board and equally strong as the following Soft As A Rock (Helium Head) takes its place with an air of Cheap Trick meets The Motors to it. Its infectiousness is swift and eager as hooks join grooves in casting a net of catchy enterprise around Deering’s ever alluring presence while within the album’s following title track the band pulls the listener in with a fifties rock ‘n’ roll nurtured saunter with a delicious B52’s-esque lilt to its blossoming revelry. The track is superb also hinting at the respective glam/art and hard rock of bands like Sparks and The Tubes as it caught ears and imagination.

Wolves Of Wonderland brings a blues flavouring with its steady hard rock canter next with not for the first time just a sniff of Queens Of The Stone Age to the melodic graining while Teenage Demon is a punk ‘n’ roll courting holler with a garage rock lining which swiftly had feet and neck muscles rocking. Again there is no missing a seventies/eighties seeded nature to the excellent track; a regular ingredient in the increasingly individual Smash Fashion sound.

Another putting a firm hand on best track honours is the Bolan-esque Proper Way To Eat A Muffin, its flirtatious almost salacious swing aligned to classic rock ‘n’ roll equipped with power pop boisterousness and lyrical devilment. Quickly and unerringly hitting the spot it had the body eagerly swinging before Runs In The Family adds further diversity to the release with its pop, punk and melodic rock collusion with a great resemblance to The Vapors to it. It too is one of the major highlights within Rompous Pompous closely matched by the Bowie kissed Tender Was The Hook, a song also embracing a sixties tone with a Hollies like scent to it.

Through the likes of the blues rock sprung Ugly Thugly and Gentle Hand with its slightly dirty melodic radiance around one irresistible hook, the album continued to light up ears even if neither song quite lived up to the heights of those before them. Nevertheless each left thorough enjoyment in their wake leaving the emotive balladry of Smiles & Daggers to bring the album to a fine close. Beginning with drama carrying piano with big shadow clad rhythms in close company, an entrance reminding of a certain Boomtown Rats classic, the song is a magnetic example of the more mature and bolder songwriting within the album. As all songs, deeper into its body you go more the different flavours and twists emerge to please and fascinate.

And that applies to Rompous Pompous as a whole, a release which gets you going from the off and just gets more intoxicating and infamous by the listen, much like Smash Fashion themselves.

Rompus Pompous is out now via Electric Pudding Recordings across most online stores.

 http://www.smashfashionmusic.com/   https://www.facebook.com/smashfashion

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

The Refusers – Disobey

“An album called Disobey by a group called The Refusers – you can’t get any more defiant than that, and that is exactly what rock and roll is supposed to be.”

The words of band founder, vocalist, guitarist, songwriter Michael Belkin tells all about the heart and intent of the band’s new and third full-length, indeed their sound overall. It is a collection of songs which snarl with defiance and irritability yet infest ears and incite the body with broadly flavoured rock ‘n’ roll in decades courting styles. Lyrically it reflects and attacks with incisive honesty and rigour while musically it has the body bouncing; a combination which makes the upcoming release of Disobey one compelling proposal.

Formed in 2010, Seattle hailing The Refusers sparked real attention with their 2016 album Wake Up America. It was a release which reflected and roared at a corrupt and twisted political and social world. It is fair to say things have not changed for the better in the world over the past two years and Disobey equally preys on its perverse habits and immoral practices. It focuses on the bad heart of America but as we all know it is a ruin reflected across the world from corner to corner.

Belkin links up with a host of musicians for the new album including bassist Steve Newton, drummers Sebastian Belkin (Michael’s son) and Brendan Hill from Blues Traveler, and keyboardists Joe Doria and Eric Robert, who has performed with John Oates, Keb’ Mo’ and Lucky Peterson. Disobey opens up with Playing With Fire and immediately lures ears with its blues tinted groove and potent rhythmic shuffle. Belkin’s vocals are soon joining the bold mix, adding accusing sparks as the track burned its presence upon the imagination. It is an intriguing start to the release, a song which did not explode on the senses but got under the skin by the second to arouse attention and an anticipation of things to come.

The following Why Do They Lie strolls in next with a deceptively calm swing, keys a tantalising lure in its developing melody nurtured rock ‘n’ roll. An instinctive catchiness soon had hips swaying as feet tapped; the track a swift persuasion before the album’s title track aroused the senses with its classic rock meets The Cars like canter. As lyrics focus and ensnare thoughts great hooks and fire bred grooves ignite the appetite, Hammond keys a tasty companion to the magnetism.

Eruption brings a call for change on a great funk ‘n’ roll saunter next, guitar and keys again a masterfully alluring incitement to accentuate rather than temper the lyrical charge while My Baby Loves Rock And Roll is a mischievous contagion echoing its title. It is a romp of the familiar and fresh which just hit the spot, swaggering along like an old inhibition evading friend.

Across Disobey, there is a seventies/eighties glaze to its rock ‘n’ roll, the following Fake News epitomising that essence with its melodic rock though to pin down straight comparisons is difficult thanks to The Refuser’s individual character of imagination and sound. The track was another which had us hooked early though the album was just as effective at pleasing ears with a more persistent almost nagging temptation as through Government Slave, another classic/hard rock nurtured proposal with tenacious hooks and teasing grooves.

The final pair of Free The Captives and Emancipation close the album up; the first a calmer but no less assured slice of rock balladry wrapped in the ever appealing embrace of keys. Its successor is a final cut of addiction flirting captivation; its chorus especially irresistible. As the album, there is something of Midnight Oil to the track, more in lyrical insight but also a little in its sound even with its more classic rock breeding, which just adds to the appealing hues at work.

Defiance and rock ‘n’ roll go hand in hand; always has and always will. The Refusers mix both with craft and adventure within Disobey; an album which may not be the most unique but leaves its rich mark rather enjoyably.

https://therefusers.com/   https://www.facebook.com/TheRefusers/

Pete RingMaster 12/06/2018

Copyright RingMaster: MyFreeCopyright

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