The Senton Bombs – Train Wreck

The Senton Bombs_RingMasterReview

The rise of British rockers, The Senton Bombs, has been the complete opposite to the title of their new single Train Wreck, yet like a runaway locomotive it has only picked up steam and intensity. Formed in 2004, the band swiftly made an impact but since the release of their album Chapter Zero in 2013, and even more so over recent times, the Blackpool hailing hard rockers have simply become one of the UK’s most thrilling incitements.

Their latest track comes from the recently released critically acclaimed album Mass Vendetta, the band’s most diverse and boldly adventurous offering yet. It is the latest landmark in their attention grabbing ascent, with third single Train Wreck, epitomising its raw energy and devilish fusion of rock ‘n’ roll with a broad array of styles from classic rock to punk, metal and country; all conjured with inventive imagination.

The Senton Bombs art_RingMasterReviewTrain Wreck hits the groove from its first breath, pulsating rhythms providing the hypnotic rails for spicy grooves and feisty riffs to roll along. Within seconds, body and spirit are as compelled to get involved as ears, the dusty tones of vocalist/bassist Joey Class leading the way as spirals of bluesy flaming infects grooves and flirtatious melodies cast by guitarists Damien Kage and Johnny Gibbons.

Throughout, drummer Scott Mason is the instigator to the rockabilly courting swing of the song, the incessancy of his rhythm and prowess pushing the song towards the rock ‘n’ roll of bands like The Pirates as a Turbonegro like blaze filling the rest of the track’s rousing persuasion.

Mass Vendetta is an album which embraces numerous songs which can push it and the band’s stature to new heights; Train Wreck is just one of the very best.

Train Wreck is available for free download right now via The Senton Bombs’ website @ http://sentonbombs.com/

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

Upcoming Live Dates:

02.07 MAD FERRET, PRESTON

09.07 LINCOLN IMP, SCUNTHORPE

14.07 GRAND CENTRAL, MANCHESTER

15.07 ROCK & BLUES BAR, BARNSLEY

17.07 VAN JAMBOREE FESTIVAL, PETERBOROUGH

30.07 WITCHWOOD, ASHTON-UNDER-LYNE

06.08 JOLLY BREWER, LINCOLN

12.08 IMPERIAL HOTEL, STANLEY

13.08 TRASH, BRADFORD

20.08 GRINGOS TEQUILLA BAR, NORWICH

09.09 BOOTLEG SOCIAL, BLACKPOOL

14.10 ALLEY CAT, LONDON

Read our review of Mass Vendetta @ https://ringmasterreviewintroduces.wordpress.com/2016/04/05/the-senton-bombs-mass-vendetta/

Pete RingMaster 26/05/2016

Copyright RingMaster: MyFreeCopyright

Harmonic Generator – Flesh EP

HG_RingMasterReview

Providing the second part in the Heart, Flesh, Skull and Bones concept, 4 EPs uniting to form one whole album, the Flesh EP is another rather tasty slice of rock ‘n’ roll from French band Harmonic Generator. Offering four lively and creatively dynamic tracks, something now pretty much expected from the hard rockers, the release is also a fresh step in the maturity of the Marseille quintet’s songwriting and sound.

Taking their name from a single by The Datsuns, Harmonic Generator emerged in 2005. They potently awoke attention to their presence with their debut EP three years later and even more so with their well-received first album When the Sun Goes Down in 2013. Since their first days, Harmonic Generator has had a live hunger taking in hundreds of shows across the years including European tours with Girlschool, Jeff Scott Soto, and Skintrade alongside their own ventures. The December of 2014 saw the first part of the Heart, Flesh, Skull and Bones project unveiled to strong praise. Recently the follow-up to the Heart EP was uncaged; Flesh like its predecessor recorded with Julien Liphard and mastered Logan Mader (Gojira, Dagoba) and showing the rich steps and evolution fuelling the second decade of the band.

art_RingMasterReviewOpening up with Dance On Your Grave, the EP quickly has ears attentive with the opening challenge of vocalist Quentin Barthes-Villegas within a controlled mesh of sound. There is a sense that things are itching to erupt even in those first seconds, and so they do as swinging grooves and rhythms unite with feisty riffs and the thick beats of Alex Roussel. Like a punk infused mix of Foo Fighters and Velvet Revolver, the song snarls and bites with its virulent catchiness and Barthes-Villegas’ rousing vocal delivery around which guitarists Charl’ Roussel and Renaud Satre cast an infectious web of hooks and grooves perfectly tempered by the throbbing strings of bassist Nico Helinger.

It is an irresistible anthemic start to the EP, a spirit and appetite rousing proposition eagerly backed by Secret Garden. The band’s latest single; it makes a more restrained start though vocals again stand bold in the midst of reserved riffs and crisp beats. Things never quite erupt as in the first track yet the song quickly shows itself a forcibly infectious incitement  with harmonies and melodic enticement warm addictive lures in old school hued classic rock ‘n’ heavy roll.

Something You Need To Know is next, it also a tempered surge into ears with the alluring bassline of Helinger a potent coaxing as guitars almost teasingly dangle their melodies and sonic enterprise for keen consumption. The beats of Alex Roussel equally have a rein on them matching that of the vocal incitement, it all working though as an increasingly tempting proposal. A slow burner in many ways to those before, the song certainly develops a drama which blossoms with every minute, engaging and richly satisfying ears and imagination especially as strings and bluesy endeavour provide a final layer of temptation to eagerly embrace.

Bringing the EP to a close, Flesh top and tailed by its best tracks, The End is another blues rock scented proposition which easily slips through ears as the track expands and reveals its multi-flavoured rock ‘n’ roll landscape. As with the first song, everything about the encounter has a contagious and adventurous air to its creative mischief. Certainly, as in all songs, there are many familiar hues and textures involved but all honed into something tenaciously and refreshingly Harmonic Generator.

The Harmonic Generator sound has come a long way over the past ten years or so with plenty of potential for even greater exploits to outshine what are thoroughly enjoyable temptations of the Flesh.

The Flesh EP is out now across most online stores.

https://www.facebook.com/HarmonicGenerator   http://twitter.com/HarmonicGen

Pete RingMaster 05/05/2016

Copyright RingMaster: MyFreeCopyright

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

Waste Pipes – Fake Mistake

WastePipes2016_RingMasterReview

According to bassist Lava, “Our history is in this record; the story of five kids who become adults unwittingly, beating harder and harder on their instruments.” Going by new album Fake Mistake, it is a history which has seen Italian rockers Waste Pipes embrace a web of varied inspirations and flavours in their own hard rock bred rock ‘n’ roll. Their ear grabbing full-length is a tenacious proposition in sound and energy, an encounter which will not be the most unique proposal heard this year but will be one of the most enjoyable.

Formed in 2003, the Rivoli hailing Waste Pipes soon began drawing attention and support with their live presence which over the years has seen the quintet share stages with the likes of Elio E Le Storie Tese, D-A-D, Meganoidi, Perturbazione, Thunder Express (ex The Hellacopters), Adam Bomb, Octopus, and Fabio Treves Blues Band amongst many more. A trio of EPs starting with Begin To Grow in 2004 also invited attention; Let Blood Boil in 2006 and Make A Move four years later pushing the band into broader spotlights within the Italian and European rock scene. With shows and tours across the likes of France, Switzerland, Germany, the Netherlands, and Slovenia now also under their belts, and the recent signing with Atomic Stuff Promotion for the promotion and distribution of their new album, Waste Pipes is ready to break even bigger spotlights with the pleasure giving rock ‘n’ roll of Fake Mistake.

Co-produced by Federico Puttilli (Nadar Solo) and mixed by Gianni Condina, Fake Mistake opens up with Headstrong. Straight away riffs and a throbbing bassline has ears attentive, their bait swiftly supported by the potent tones of vocalist Chris and the jabbing beats of Boe. The appetite igniting start relaxes into a more familiar hard rock stroll eventually, a presence equipped with enticing hooks and melodies though it is the eruptions of explosive energy and sonic confrontation which especially brings the song alive.

WP_Fake Mistake_cover_RingMasterReviewIt is a potent beginning to Fake Mistake more than backed by Fire Below, a track veined with the sonic and melodic enterprise of guitarists Kina and Guarro. Embracing blues and classic hues in its hard rock canter, it also slips into unpredictable moments of imagination to add further appealing spice to its body before Stay The Night provides a seventies scented melodic rock shuffle. Highly infectious in no time, the song swings and seduces with increasing adventure and individual craft, Lava’s great dark basslines the thick constant veining it all.

Three tracks in and the album is already showing track by track growing steps in adventure and variety, as well as impressiveness. The Loser Song is no exception; its magnetic body a weave of punk hooks, grunge melodies, and richly varied rock ‘n’ roll imagination. At times it seems to touch on Cheap Trick/ZZ Top like essences, in other moments more Houston/ The Cult flavoured mixes; it all colouring another inescapably highly satisfying encounter.

Chaos comes next, offering a melody strong tapestry of temptation over an anthemic rhythmic spine. As its flavours are broad, the song’s energy and aggression is a vibrant mix of intensity too, the song as at ease seducing ears as it is invading them with a physical hunger. It is captivating stuff instantly matched by For All The Time We Waste, a rousing stomp of blues and heavy rock with a spikiness as indie and punk as it is raw rock ‘n’ roll. Between them, the pair are the pinnacle of the album with the latter stealing the biggest plaudits.

The compelling Not Enough opens with a melancholy spiced coaxing before building up into feisty passages of energy and emotion, switching between the two contrasts throughout whilst adding further imaginative twists and turns with keys a great additive. Its healthy array of styles and creative spices is matched and eclipsed by the excellent Little Devils Scratched My Ears, another spirit and imagination rousing proposal whipping up eager involvement from the body too. Proving a creative buffet of blues grooves and sonic tendrils around catchy hooks and rhythms as Chris continues to vocally entice, the track hits the sweet spot for another highly memorable moment within Fake Mistake.

The album closes on the emotive flame of Bad Growing, a potent croon which might not have the same dramatic spark of other tracks but soon reveals its own dynamic canvas of imagination and adventure to fascinate and strongly please.

The song is a potent end to one highly enjoyable album; a release which only leaves pleasure strong and ears wanting more. A success anyone can take a shine to.

Fake Mistake is out now with promotion and distribution on all major digital platforms through Atomic Stuff Promotion and physical distribution by Andromeda Dischi.

http://www.facebook.com/Waste-Pipes-20325293369   http://www.atomicstuff.com/wastepipes.html

Pete RingMaster 04/05/20156

Copyright RingMaster: MyFreeCopyright

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Dead Man’s Hand – Till Karma Forgets

DMH_RingMasterReview

Not to be confused with seemingly many other bands with the same moniker, Dead Man’s Hand is a band bred in the Seattle music scene but it is fair to say really hit their stride once its founders relocated to Kansas City. Now they are poised to release their new album Till Karma Forgets, a twelve song strong slice of raw rock ‘n’ roll which maybe does not leave ears awestruck but certainly provides them with a thoroughly enjoyable time.

Formed in 2012 by vocalist/guitarist Kasey McGrew when he teamed up with guitarist Bret Palmer, Dead Man’s Hand struggled with finding the right line-up initially; that was until the pair moved to Kansas City the following year where they found bassist Jeffery Kent and drummer James Aguiar. Soon the band found itself sharing stages with the likes of HURT, PopEvil, and The Dreaming at venues such as The Voodoo Lounge and Granada. 2014 saw Dead Man’s Hand touring with Burning and win Best New Artist in the Midwest Music Awards. Last year saw a second tour for the quartet, plenty of radio play, and more nominations at the 2015 Midwest Music Awards. Now following up an earlier demo EP with the same name, the band is poking at broader awareness for their accomplished and fiery rock ‘n’ roll with The Pavement Entertainment released Til Karma Forgets.

The album opens with the groove bound Hangman, a track making a controlled entrance before sauntering into the imagination with mellow lures entangled in more incendiary strikes of guitar. The vocals of McGrew, potently backed by Palmer’s strong tones, emulate the sound around them, crooning at certain moments and roaring with thick emotion in the songs eruptions of intensity. Easily revealing the unmistakable craft and skills of the band whilst pleasing ears, it is a great start to Til Karma Forgets backed as powerfully by the excellent Lock & Key. Grungier hues crowd the hard and melodic rock body of the song, all magnetic spicing adding to a great stock in grooves and rhythmic enticement around another catchy chorus. Whilst eclipsing its predecessor, a touch of southern goodness also comes out with the song overall reminding a touch of fellow US rockers Resin.

DMHart_RingMasterReviewPaint A Picture is a calmer emotive proposition next, vocals and melodies wrapping ears as feistier flames occasionally rise up around them whilst So What offers a grittier tempting of blues and hard rock which prowls ears with expressive guitar and vocals taking the lead. Its snarl only increases in its rousing chorus where the irritability, which seems to fuel bass and riffs throughout, adds more oil to the blaze.

Through the spicy grooving of Veto and the attractive intimidation of Wash Away, band and album keeps pleasure and appetite as keen as ever. The first of the pair is an especially unpredictable and magnetic affair as at ease aggressively growling at the senses as it is seducing them. Its successor evolves from a seriously coaxing lure from Aguiar into a predator with hungry riffs, and the still boldly rolling bait of beats, courting a less imposing vocal delivery. It is a great mix with the dark shadows and the song’s natural predation alone whipping up the passion as it steals best song honours on Til Karma Forgets.

Its title track comes next and it too marks a particularly memorable peak in the landscape of the album, carrying a slight Life Of Agony feel to particularly its more emotive and restrained moments. Despite its grouchiness and aggressive elements, there still feels like there is beast still trying to escape, and if there is any moan about the album it is that it does not fulfil the great and open potential to unleash this instinctive ferocity. Nevertheless, the track rocks like a disturbed bear before a milder but no less resourceful stroll with Slide Of Hand leaves ears thickly satisfied; guitars especially spicy and flavoursome within the encounter.

Another inviting strain of blues rock colours the swiftly infectious Beneath The Dirt next, where whiffs of Nirvana and Sick Puppies tempt thoughts. The track is yet another addictive episode in the album; a track, which like Til Karma Forgets as a whole, might not be venturing into unique pastures or setting the world on fire but without doubt leaves the listener gripped and hungry for more of its unbridled rock ‘n’ roll.

Through the scorching blaze of Masquerade and the emotively melodic Broken Ground, things continue to richly entice and firmly please; the first of the two another notable proposition, with Not For Nothing closing up the album in fine style too with its captivating, impassioned, and tempestuous balladry.

Though the album is missing that last spark or bite of intensity to really ignite the passions, it is not too hard to expect Dead Man’s Hand finding a host of new fans and plaudits with Till Karma Forgets, a release which offers honest rock ‘n’ roll with heart and quality.

Till Karma Forgets is released April 29th via Pavement Entertainment through most online stores.

https://www.facebook.com/DMHMUSIC

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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

Cilver – Not The End Of The World

Cliver_RingMasterReview

Some bands and their sound just seem to naturally spark attention and so it is with US based hard rockers Cilver. Over the past three years, the quartet has drawn a wave of increasing interest and support with their sound, success backed by an equally ascending live presence. Now the band is looking at waking up a broader expanse or ears and spotlights with debut album Not The End Of The World. As their sound in general, it is a rousing roar of familiar and distinctly fresh essences and textures creating a commandingly contagious spirit sparking proposition very easy to find a greedy appetite for.

Formed by Romanian born vocalist Uliana Preotu and guitarist Leon Lyazidi, a pair who had already been part of MeTalkPretty, Cilver began in New York in 2013. Within months they linked up with Ron “Bumblefoot” Thal (Guns N’ Roses, Art Of Anarchy) and released debut single In My Head. It and a subsequent EP of the same name the following year, quickly caught the attention of fans and media alike; inspiring eOne to sign them and now release the band’s first album. 2014 also saw Cilver land a spot on Revolver magazine’s Hottest Chicks in Hard Rock Tour alongside bands like Sick Puppies, Lacuna Coil, and Eyes Set to Kill. With a line-up completed by bassist Josh Pillbox and guitarist Ramsey Modiri, Cilver is now poised to spark their busiest and most successful year yet with Not The End Of The World, and a collection of songs seemingly as much inspired by the founding duo’s experiences of being first-generation immigrants and life in the last days of communist rule in Romania as well as the hard journey to the point they are at now.

The album opens with Break Free and quickly has ears and intrigue involved as an opening vine of guitar is swiftly joined by crispy beats and the effect laced vocals of Preotu. A few more eager seconds sees the song in clear view and enticing limbs and imagination with its wall of imposing riffs and thumping rhythms. That initial hook still beckons within the now tempestuous climate and roar of the song with Preotu only impressing more and more with every syllable shared. Major surprises maybe less noticeable within the song but it has the body and spirit bouncing with infectious ease whilst blowing hard with a fresh breath of energy and sound.

Cilver_NTEOTW_Cover_RingMasterReviewThe great start continues with I’m America, the first single from and teaser for the album released at the tail of last year. From the off, the song has a gentle but devilish swagger accentuated by Preotu’s voice, a swing which really catches alight within a handful of seconds as grooves entwine the catchy rhythmic enticement badgering ears. Again there is something thickly recognisable about the track yet an element which seems to only add to the bluesy groove fest of anthemic dexterity and creative tenacity. The song simply beguiles ears and appetite, using the listener’s body like a puppeteer though it is soon outshine by the excellent Headstone, a song with toxic grooves which just seduce the imagination. There is a touch of Sick Puppies to the song but of the three so far, it is the most unique and in turn striking proposal so far with Preotu’s vocals glorious and again almost stealing all the limelight from the superb sonic and rhythmic craft on offer.

Razorblade romps in with creative and physical energy to the fore, a zeal just as open in the darker prowling moments that frequent this ear gripping proposition. With its predacious rock ‘n’ roll lit by a host of fiery hooks and a wonderfully unpredictable invention, the track marks another pinnacle in the lofty creative landscape of the album;  a success emulated by the less invasive and irritable but just as dramatic and compelling Afterlife. Arguably the most lyrically evocative proposal yet on the release with Lyazidi’s keys bringing a haunting and vivacious beauty to the emerging sonic blaze, the song captivates as it reveals more of the diversity in the band’s songwriting and hard rock bred sound.

Rich melancholic strings and poetic keys open up the following power ballad Frozen, Preotu’s presence almost siren-esque in her range of vocal expression and emotive theatre, whilst its successor, It’s My Life, is a growling incitement of defiance and attitude carrying punk irritability to its chest thumping rock ‘n’ roll. Both tracks increasingly incite with every listen, as does the album, though each time they get eclipsed by the soaring roar of Bleed For You. Vocally and atmospherically, the track is a fire of temptation, emotionally crackling as rhythms snap and sonic enterprise flame around the heart bred outpouring of Preotu.

In My Head has the air boiling next, the track as powerful and irresistible as the first time it tempted ears three years back. It’s infectiousness is virulent and confrontation bracing, whilst the imagination fuelling it is rarely surpassed within Not The End Of The World, or indeed other similarly styled releases in recent times.

The album is concluded by the galvanic adventures of firstly Behind These Eyes and finally Not Afraid. The first of the two is a more expectations satisfying encounter but heftily pleasing whilst the closer is as much punk as it is hard rock and a fierce and memorable stomp to close things up on.

Not The End Of The World is an album which leaves you alive with energy and spirit; it might not be the most unique but for a rousing, breathless, and thrilling experience, it and Cilver stand as an unreserved recommendation.

Not The End Of The World is released April 29th via eOne; physically @ http://www.amazon.com/s/ref=dp_byline_sr_music_1?ie=UTF8&field-artist=Cilver&search-alias=music and digitally @ https://cilver.lnk.to/NotTheEndOfTheWorld

http://www.cilverband.com   https://www.facebook.com/Cilver   http://www.twitter.com/cilverband

Pete RingMaster 27/04/2016

Copyright RingMaster: MyFreeCopyright

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

Star Dancer – Welcome To My World

Star Dancer_RingMasterReview

Whether by coincidence or intent, Welcome To My World feels like an homage to suspected inspirations to its creator. It offers a bundle of songs and flavours which seem like friends before they even finish making their first persuasion with originality not as ripe as the craft bringing them to life. The result though is a fun time which it is hard not to like and enjoy, and increasingly so with every listen.

The album is the debut from Star Dancer, a band created by Detroit hailing vocalist Robert Star and Sponge members Vinnie Dombroski and Tim Patalan who produced it. Welcome To My World is as much a jukebox of recognisable “snapshots” of assumedly the music lighting the artist’s life and passions as it is of “both the world surrounding Robert and a troubled modern day America” explored “through Robert’s unique lens.

Highly enjoyable is what it predominantly is and straight away as Welcome To My World opens with its title track, a feisty slice of hard rock with classic rock inflamed grooves wrapped in rousing backing vocals provided by Tosha Owens and Rachel Williams. As well as kicking the album off in potent style, the song gets the appetite and spirit going too and ready to embrace the more restrained but openly magnetic Earth Mother Dancer. Flirting with a Billy Idol meets Johnny Wore Black swing to its rock ‘n’ roll; the song is as instinctively simple and catchy as it is sonically colourful with the leading lures of David Black’s guitar pure captivation alongside the more punk ‘n’ roll riffs of Wally Filipiak.

Great Sexpectations (Turn Off the Lights) provides an eighties hue to its hard rock revelry next, an easy to bite on hook framed and speared by the punchy beats of Jerome Day. Guitars create a splattering of that nostalgic enticing throughout the song whilst bassist Jason Lollio prowls it all with a great throaty and contagious tempting. From one easy pleasure to another as She’s In Love With Joan Jett takes over; a song echoing the focus of its title whilst also sharing an Elvis Costello meets The Cars like air to its boisterous stroll.

Star Dancer Artwork_RingMasterReviewDiversity continues to enrich album and ears as the sultry smoulder of The Weed Don’t Lie radiates warm melodic and harmonic persuasion across an exotically textured landscape whilst hugging the increasingly impressing voice and presence of Star before High & The Mighty brings its own individual tempting to bear on the imagination. A web of varied rock flavours from electro to heavy, the song entices like an unexpected mix of Ministry before they went metal, Heaven 17, and Spineshank. The track is another of the peaks of the album matched quickly by the melodic shuffle and seducing of Annie and an excellent spin on EMF’s classic, Unbelievable.

In the first of the two there is a whiff of Bowie which is even bolder in the following IntraVenus FlyTrap, though at times it becomes Bolan-esque as the track grips ears with its steely rock ‘n’ roll built on snarly riffs and electronic imagination. The vocal union again, as across the album, simply whets the appetite as hooks and grooves work freely on the imagination before the punk ‘n’ roll of Before I Die brings the album to spirit rousing close. From a lo-fi strum, the song erupts; leaping and bouncing as southern and punk rock flavouring infests its anthemic vivacity.

The final song epitomises the album; many flavours combining in many ways for something very familiar and so easy to get fully and eagerly involved in. If you are looking for a good time and something to feel good from, then Welcome To My World just might fit the bill.

Welcome To My World is released April 20th on iTunes and other stores.

http://www.stardancerband.com   https://www.facebook.com/Stardancer13

Pete RingMaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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

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

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