Sin Of Night is a young female Roman four-piece dealing with party Hard Rock tunes and R 'n' Roll themes (sins, sex, alcohol, craziness, speed, night fun and incitement to action instead of a lazy isolated life). After the February 2015 single, accompanied by the "Suicide" video (https://www.youtube.com/watch?v=E9jpBr9VqPA), here comes the 11-track debut album recorded at the Wolf Recording Studio in San Cesareo with Agoge records' label owner Gianmarco Bellumori, whos' done a good job again which would have been perfect if he'd reinforced and sharpened Aivil Vice's Pop vocals during the recording and the mixing.

After the intro anticipating the Rock and Roll way of life ("The Fallen - Genesis 3:1 - 13"), "Suicide" attacks with its mid tempo riff, metallic bass lines winding their way, matched with drum breaks and a hypnotizing refrain; the song is well performed and written and it is also more Metal than the rest; no surprise then if it was chosen for the video; however the climax of the composition is when a guitar lick pops up along with whispers, with the drums playing a martial pattern before the conclusive chorus.
After a sports car roar in the way of Motley Crue or Manowar who recurred to a Harley Davidson's, "Grindhouse", inspired by exploitation flicks, starts slow and suddenly speeds up with a bad-ass riff, followed by a swinging refrain and a nervous drum structure until the riff and the rest of the composition come back, followed by a nice guitar squeaking solo.
Soft vocals and a slightly distorted guitar open "Oh My Mind" before the Punk/Hard Rock ride takes the spotlight, whereas "The Flame of Rock 'n' Roll" is an easy-going composition with a Progressive break to some extent; unfortunately the axe solo here isn't up to the others and that's a pity.
While "Iron Sunset" strikes due to its intensity alternated with a controlled dark break and a decent axe solo and appears to be one of the songs that would enjoy tougher vocals, "Snake's Daughters" is a rollercoaster of emotions with a final assault full of Punk attitude and melodic back-up vocals.
Another delicate beginning before the power takes over is in the ballad "Coming Home", but it's in the melodic parts that Aivil Vice's voice shows its limits, whereas the chorus is really irresistible, as well as the 6-string solo over the break.
Reminding of the NWOBH with the addition of Hard Rock riffs, "Criminal Eyes" shows guitar and bass duelling before the refrain and has a lot of unexpected riffs and psychedelic structures; this shows the finest facade of the Roman outfit even if marred by the above-mentioned vocals.
From the nicely-riffed "Whiskey Dreams", which surprisingly shows the best vocals of the album thanks to guitar player Julie taking duties on the mike, seducing like a real panther before scratching the listener, we get to "Unrepentant Sinner", a fast and scorching way to slam the door of the album, enriched by a sombre riff and crackling drumming along with persistent unorthodox riffing.

"Take the Snake" is far from perfect but it has several moments of involvement; waiting for a more mature comeback, I can suggest a listen to aficionados of Girlschool, Crucified Barbara, Pretty Reckless, Halestorm, Plasmatics and The Runaways.