Out April 21
Good Intent
Review by Kris Peters
Sydney music pioneers RedHook have walked a long path to their debut album Postcard From A Living Hell.
Long in the fact that they have been decimating crowds the world over with their unique and ruthless brand of metal-infused hard rock, punk, and, dare we say it, poppier elements since 2017 and despite a long list of singles the band has yet to commit to a full album.
Whether by design or circumstance, RedHook’s prolonged run of singles has only served to benefit the band, drawing in large numbers of supporters who, instead of jumping on the new release bandwagon with more curiosity than hunger, are now anxiously awaiting Postcard From A Living Hell.
Is it worth the wait? Let’s find out shall we?
Opener Postcard XO jumps out of the gate, awash with an instantly infectious groove before vocalist Emmy Mack enters the fray, an angst and enthusiasm in her voice that conveys from the outset RedHook have used their time effectively.
The sound and production here is top-notch, with Postcard XO delivering everything we have come to expect from RedHook. Rockier moments punctuated by an ambient pop/punk accompaniment that is menaced at irregular intervals by a hypnotic harshness that is almost schizophrenic in its delivery before the boys – guitarist Craig Wilkinson, bassist Ned Jankovic and drummer Alex Powys – decide to unleash their own sonic fury in a frenzied and aggressive closing to the track.
Jabberwocky is up next, and, if you have seen RedHook live, you will know is a song about surviving sexual abuse.
Not that you could tell how deep the lyrical content runs as Mack veers from harmonious tranquillity to rage-fueled victim with ease. It is a beautifully crafted song that caresses the lines between anger and sorrow on the back of some well-placed electronics that showcase another side to RedHook’s arsenal.
These guys emit a massive and full sound that sounds like it should come from a much bigger band but therein lies another of RedHook’s guilty pleasures in the fact they don’t need all the bells and whistles to attract attention.
As the saying goes, less is more and RedHook emphatically prove that sentiment.
Off With Your Head is next up and from talking to the band earlier they have often mentioned this as the heaviest song on the album, which is enough to pique my interest.
It starts with more electronics, but Mack tells us repeatedly that she is angry, and I find myself making a mental note not to ever piss her off.
This track is heavy as fuck where it matters but treads a more refined line on the surface.
A swirling mixture of electronics and instruments combine for a different kind of heavy, but also one which has enough unique characteristics to make it an intriguing addition to the album, then, before it outstays its welcome, fucks off from whence it came to leave us with next song The Critic.
I wonder if this was written about myself or someone in my profession? No biggie if it is because (from memory) I have always been nice to RedHook – they haven’t really given me a reason not to…
More electronics fill the speakers before Mack struts into earshot in a more tempered radio-friendly type vocal delivery that is almost angelic.
Almost.
And then someone/something pisses her off, and she tells us all to shut the fuck up. Welcome back Miss Mack!
All of RedHook’s songs contain contrasting shades of light and dark but somehow never manage to be repetitive. This is largely due to the musical precision and enthusiasm harnessed by the whole rhythm section, serving as a constant reminder that music is better as the sum of all parts rather than an individual collective.
Another of the singles, Imposter, which features Mikaila Delgado from Yours Truly spurts to life next and if you haven’t yet seen the film clip to this song Google that shit now! It’s a well-crafted and unbalanced look into the mind of a woman (women) scorned and adds another, scarier, layer to what essentially sounds like a love song of sorts.
Of course, it’s not, but it almost could be with a measured delivery and soaring chorus that is again more on the radio-friendly side of things.
Until it’s not.
Both girls’ anger slowly builds as the track progresses and although the rage never quite bursts through the surface the fact it can be felt simmering below the surface makes for a nice touch.
Another of the singles, Soju, which features Sly Withers, ups the mood considerably with a much lighter song that sees Withers and Mack combine vocally to great effect.
What’s this? Is it a trumpet? Fuck knows but there is definitely a brass component snuck in before gang vocals ram home the point. I’m not sure what that point is, but there was a few fuck yous in there so let’s run with that.
Psych vs Psych smashes out of the box next with a harshly worded spoken intro passage by Mack quickly giving way to screams of anguish that continue unabated as the carnage unfolds around her.
Rapid-fire layered vocals elevate this track to yet another side of RedHook’s musical psyche with moments of pure hate spat out regularly. A nice little interlude and breakdown two-thirds through introduces a lengthy electronic section that strangely does not feel out of place.
Which is another of RedHook’s strengths. They refuse to adhere to conventional structures and allow flashes of their own unique and sporadic musical tiding to permeate through their music seemingly whenever the fuck they feel like it.
Which has to be admired, especially when it sounds so damn fresh.
Low Budget Horror arrives on a massive guitar riff from Wilkinson that soon settles into a cool groove accentuated by moments of madness rising around it.
Mack is in full voice here, alternating between harsh, clean and innocence with effortless ease. One could use the term schizophrenic ease, but only to explain the contrasting vocal styles which are both frightful and poignant at the same time.
An Intervention is more of a rock-infused dance track that tackles delicate subject matter with the same accessible enthusiasm as RedHook sprinkle on every song. I generally cringe at the amount of danciness on offer here but can’t help but bop along as I write this which surely means this song is more rock than dance?
That’s my take on it anyway, and I’m sticking to it…
Inarticulate, featuring The Faim eases out next with a quieter and more subdued delivery in what must be the token album love song.
It seems pleasant enough and isn’t cringe-inducing like most love songs which is a victory. In its defense the song does pick up the pace with an added urgency as it progresses, so I shall leave it at that and move on.
Say closes out the album and is another song that will be familiar to fans.
Led by Mack informing us we can say what we wanna say – as long as we agree with her – Say is another electronics led number that maintains enough of its rock DNA to allow for a successful amalgamation.
Mack threatens to explode a number of times and gets her chance towards the end, and it becomes clear that she isn’t the person demanding we agree with her.
Which doesn’t really matter anyway because I have seen and heard RedHook live and can’t find anything to argue about.
Was Postcard From A Living Hell worth the wait?
You betcha it was.
Why waste everyone’s time by rushing out an album when you can take your time and deliver something like this? There’s a lesson here for younger bands…
