Album review by Luke Petty
Barely 18 months after their explosive debut, Postcard From A Living Hell, Sydney’s experimental hard rock titans RedHook are poised to strike again with their highly anticipated second album Mutation.
The album kicks off with the enigmatic ‘Pyromaniac’, a foreboding introduction to the slimy, otherworldly atmosphere that permeates the entire record. Emmy Mack, a captivating and curious frontwoman, guides the listener through this strange new world, her theatrical persona driving the band’s narrative. The song’s instrumentation, reminiscent of classic tracks like ‘Dead Walk’, creates a truly creepy undertone. Yet, this doesn’t overshadow the passionate chorus, where Mack bares her soul as she delves into a tale of self-destruction and introspection.
‘Breaking Up With’ follows, a quirky blend of samples that quickly gives way to a funky saxophone solo. This rock-infused track is a sultry, shuffling journey that seems to push Emmy to her limits as she boldly declares her intention to break up with herself. This track is a freakin good time, layered with sonic delights that suggest RedHook was having a bit of fun while writing it. This playful side of the band is where they truly shine.
Next up is the first collaborative track ‘Hexxx’ featuring Vana. The song begins with warm samples before Emmy joins in with a swirling, dissonant vocal that matches the hypnotic soundscape. The music shifts into a shuffle, taking a dangerous turn with aggressive outbursts and purposeful, militant drumming from Alex Powys. After being overshadowed by samples and electronics, the drums finally take center stage, pushing the sonic intruders aside, if only for a moment.
‘Dr. Frankenstein.’ An electronically manipulated vocal intro pays homage to the good doctor before Emmy glides in with a measured opening, hinting at the restrained anger that’s about to erupt. She doesn’t disappoint, working herself into a frenzy directed at the infamous doctor, who seems to have angered everyone. Featuring the very talented Holding Absence, male vocals provide a surprising twist, offering a different perspective. It’s likely one of the members from Holding Absence, as none of the RedHook members have previously sung like this.
Dive straight back into the neon chaos with ‘Bomb.com’. This track explodes with RedHook’s signature playful energy. Emmy’s sassy vocals intertwine flawlessly with the instrumental mastery of Ned, Craig, and Alex. Layers upon layers of sound erupt in a meticulously jarring symphony. It’s a captivating, pulsating experience that demands your attention and refuses to let go. A cheeky shout-out to Aussie rockers Stand Atlantic adds another layer of fun to this irresistible anthem. ‘Bomb.com’ is RedHook at their most infectious, a sonic explosion that leaves you wanting more.
Mutation is a monumental and empowering release that challenges the stereotypes surrounding women in metal. Emmy Mack fearlessly infiltrates the scene, embracing the “uncomfortableness” often associated with female expression. Tracks like ‘Hot Tub’ and ‘Cannibal’ featuring Lochie Keogh of Alpha Wolf highlight this groundbreaking approach. These songs delve into themes of sexuality, power, and the silencing of women’s voices within the metal community. Mack’s confident and provocative delivery shatters expectations, showcasing the multifaceted nature of female desire. Through these tracks, she demands to be heard, pushing boundaries and redefining the landscape of metal music.
‘Party Zombie’ sounds like an oxymoron before it even starts, with an eery electronic intro setting the tone for a restrained number that would be RedHook’s love song. If they wrote such things. It seems the focus of this track is dancing, which would seemingly be difficult for a zombie, but obviously party zombies are more lively. Who would have thought? This is perhaps the most pure track on Mutation, in the sense that it follows a steady trajectory throughout without veering off sporadically in any given direction. I’m not sure if they threw this in to prove that as a unit RedHook can follow rules and convention, but I’m not buying it.
‘Scream 2’ arrives courtesy of some urgent electronics that are soon superseded by even more urgent drums and guitar that only intensify as the song progresses. Until the chorus arrives, which brings things back to a more sustainable level until even it gives up and allows RedHook to basically do whatever the fuck they want. But when you do it so well, why would you want to interfere?
‘Tourist’ closes the curtain on Mutation and is a fitting finale that acts as both a farewell and a welcoming rite of passage. Welcoming in the respect that after successfully navigating album number two from RedHook those still standing are in for a hell of a future ride if the sonic elevation between Postcards from A Living Hell and Mutation continue as expected.
Mutation is the product of a band who are completely comfortable with and within themselves. It is a tribute to the hard work and dedication of a band who will – if the musical Gods have any respectability – mark their names amongst the best this country has to offer.
