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The southern region of Germany, close to the Swiss and French border, is home to Florian Döppert (vocals, lyrics, sax, blues harp, keyboard). With his first solo Project Southdogrock a long-held wish comes true: Creating songs based on own lyrics and musical ideas together with a professional producer. Florian found a very competent partner for this project: Frank Schultz, owner of PRO TON MUSIC. http://www.protonmusic.de Many songs are still waiting to be produced but the first creation “Ride with me” is finished Southdogrock is a non-profit experiment that tries to use the available resources to produce outstanding songs. Each sponsorship will be

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Wild Horse: “Songs About Last Night” – embody everything before, current, and probably hereafter!

Wild Horse are a young vibrant original British Rock Band, from Burwash, East Sussex, formed by two brothers – Henry Baldwin (Vocals, Guitar & Harmonica) and Jack Baldwin (Vocals & Guitar) – with school friend Ed Barnes (Drums), 6 years ago, when they were around 12 years old. They have since released two albums and three EP’s, while building up a solid following in the South East. Their latest record out is the 10 track album, “Songs About Last Night”. Wild Horse have served up an entertaining, tightly produced album here. It’s very cool to hear a band playing stripped down rock and roll these days, especially when pop music and hip hop seems to be moving more and more into the uber-production realm.

There’s a real earnestness about the songs on this album, and that’s an element that’s been missing from conventional rock for a while. “Songs About Last Night” sets itself a rapid pace, refusing to unnecessarily halt itself when its tracks are an incessant burst of energy.

As soon as the overdriven guitars and banging drums start off “Fake Gold”, the band unabashedly moves forward and never stops, even briefly. It’s one of the reasons why this record feels so invigorating. Its congruity and tenacity are emblematic of the band themselves.

Drummer Ed Barnes is integral to its pacing, too, never using his metronomic beats for showmanship but instead as a base for the band to return to. Listen to how well he holds them together on the funky “High Too Much To Care”. The album does just what Wild Horse intended it to: exist on its own terms.

Although it’s important to consider what came before and after it, it’s an album with a character distinct from other current pseudo-rock releases. It helps strengthen the guitar-rock movement of this decade, and it’s a feat that shouldn’t go unacknowledged, considering the age of these guys too.

“King of the Underworld” plays testimony to the aforementioned statement, as the Baldwin’s give their guitars a solid working over, before going in for the six-string kill with “Mr Man”. This is one of those songs that you’ll remember after the record has ended.

Build around a twangy guitar riff and snappy drum beat, it maintains a live feel. Throughout the record you’ll have several of the vocal hooks and guitar riffs bouncing around in your head. “The Way I Am” brings some respite on a slower beat and clean jangling guitars.

This album is designed to be listened to loud, starting with the swampy “Every Now And Then” which keeps up the momentum and the adrenaline rush of the album with as simple a chord progression and drumbeat as you could wish for and a chorus infused with singalong spontaneity. And the highlights don’t end there.

“The Romantic Tales Of Mr Shy” is a driving rock song that careers into the distance after just over 4 minutes, and “The Club Downtown” is a mysterious noir feast with explosive interludes. Wild Horse maintain the illusion of carelessness and effortlessness while executing their tracks perfectly. The lead vocalist has a wonderful throwback voice that reminds you of previous musical era, and which he showcases beautifully on both “You” and “Harsh Realisation”.

Wild Horse are the epitome of guitar-driven rock in 2019: they embody everything before, current, and probably hereafter. Their rawness of sound is preserved and making music for music’s sake is emphasized, as opposed to commercial gain alone. How much more can you ask of a bunch of seventeen year-olds?

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