Courtesy of Travis Barker’s cultural renaissance and the prominence of artists like Machine Gun Kelly …
When a band cranks it up to 11, you often wonder if they can keep the momentum going–have they peaked too soon? Is such a power sustainable? With RedHook and their brand new single, Fake, it’s not a question of maintaining the momentum, but manipulating and improving the talents they already have to an astonishing result.
What the bloody hell happened to singer Emmy Mack’s voice? This is not the same woman we were introduced to when the band broke out in 2018 with their first single Minute On Fire.
Her nu-metal rapping is tighter than we’ve heard before, sharp and cutting. Her exploration of her vocal range means she’s developed a control and stunning delivery of the sultry mellow tones of her alto voice, demonstrating an equal control of the almost execute to bubble gum pop nature of the higher end of her vocal spectrum.
Well, if singles like Fake keep coming out of the RedHook camp, there’s no doubt that the Sydney outfit will be tearing up more stages and continuing to surprise.
And that’s to say nothing of the accelerating power of winning rhythm duo, Maverick Burnett on bass and Alex Powys on drums. RedHook are delving further and further into the management of programming and synthesised effects against the rumbling tones of the natural instrument, guitarist and programmer Craig Wilkinson astounding and impressive with the developments of his craft with every new release.
Honestly, in the beginning there was some doubt here as to whether RedHook’s material would stand the test of time–could they still perform such exuberant tracks as they’ve been putting out ten years down the line? Well, if singles like Fake keep coming out of the RedHook camp, there’s no doubt that the Sydney outfit will be tearing up more stages and continuing to surprise, this one track an excellent demonstration of dexterity and creativeness in their evolution.
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