Latest / HEAVY Music Interviews / A Brash, Bold Second Coming With EMMY MACK From REDHOOK

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A Brash, Bold Second Coming With EMMY MACK From REDHOOK · HEAVY Music Interviews

• 0:18
  Speaker 1: Hey, what's up.
• 0:19
  Speaker 2: This is Emmy from Red Hook and we're about to
• 0:23
  Speaker 2: release our sophomore album, Mutation.
• 0:26
  Speaker 3: Yet to find Me. Thanks for joining us today.
• 0:29
  Speaker 1: Thanks for having me mate.
• 0:31
  Speaker 4: So we don't do this very often because it actually
• 0:33
  Speaker 4: puts the artist under the spotlight a little bit. But
• 0:36
  Speaker 4: what we're doing today is it's an interactive review of
• 0:39
  Speaker 4: the new album Mutation.
• 0:40
  Speaker 3: So basically I've written the review.
• 0:43
  Speaker 4: You haven't seen it, but I'm going to read through
• 0:45
  Speaker 4: you bit by bit what I've got and you tell
• 0:47
  Speaker 4: me whether I'm on the right track, or whether I'm
• 0:49
  Speaker 4: fullish bit or whether i should go back and start
• 0:51
  Speaker 4: all over again.
• 0:52
  Speaker 1: You know, I'll always tell you when you're full of shit, Chrispy.
• 0:54
  Speaker 3: That's one thing I love about Jamy. So here's the intro.
• 1:00
  Speaker 3: It starts off.
• 1:01
  Speaker 4: After making this swait six years for the debut album
• 1:04
  Speaker 4: Postcard from a Living Hell, Sydney experimental hard rock out bit,
• 1:07
  Speaker 4: Red Hook is now on the cusp of delivering album
• 1:09
  Speaker 4: number two just over eighteen months later. A skeptical person
• 1:12
  Speaker 4: may wonder if this new album is possibly a byproduct
• 1:15
  Speaker 4: of the modern musical climate where content is king, but
• 1:17
  Speaker 4: anyone even remotely close to the red Hook Camp would
• 1:20
  Speaker 4: counter that by simply pointing the fact that the creative
• 1:22
  Speaker 4: shackles have been broken and the juices are flowing, or
• 1:25
  Speaker 4: any mutation that's formed a multitude of singles of varying musicality,
• 1:29
  Speaker 4: suggesting Red Hook have expanded their sonic palette even further
• 1:32
  Speaker 4: on their sophomore album, which will be unleashed on the
• 1:34
  Speaker 4: world on November twenty second.
• 1:37
  Speaker 2: I love that great intro, my brother, I love the
• 1:41
  Speaker 2: I love the use of the word juices.
• 1:45
  Speaker 3: This is a good there, It's a beautiful term, isn't it.
• 1:48
  Speaker 1: Great term after a good start? I'm not I'm not
• 1:55
  Speaker 1: offended or confused yet, so we're all right, Well, go solid.
• 2:00
  Speaker 3: We can make that happen. Oh yeah, I open up.
• 2:03
  Speaker 4: Pyro Maniac eases the life courtesy of stifled electronics that
• 2:06
  Speaker 4: soon flower beautifully into a welcome but unexpected track that
• 2:09
  Speaker 4: sees vocalist Emmy Matt tapping into an almost vulnerable innocence
• 2:12
  Speaker 4: of mid swirling text.
• 2:14
  Speaker 3: Delicious intent will not hip hop vocals per se.
• 2:17
  Speaker 4: They are at times spat with venom and surety that
• 2:19
  Speaker 4: are offset by a more measured and heartfelt chorus that
• 2:21
  Speaker 4: restores the status quo. There's plenty going on elsewhere as well,
• 2:25
  Speaker 4: with spat of the electronics and samples simmering gently blow
• 2:27
  Speaker 4: the surface without fully baking breaking through, which I'm guessing
• 2:31
  Speaker 4: it's meant to accentuate the angst and emotions that are
• 2:33
  Speaker 4: the driving factors of this song.
• 2:36
  Speaker 1: I actually love that. That was that was beautiful.
• 2:42
  Speaker 2: Yeah, like no no notes, Yeah, I really.
• 2:46
  Speaker 4: Dug that, man, Thank you all right, sorry, tell us
• 2:49
  Speaker 4: a bit more about the song.
• 2:51
  Speaker 2: Well, Like, I like that you reference to hip hop
• 2:56
  Speaker 2: in there, because we were sort of vibeing a little
• 2:59
  Speaker 2: bit of a hit pop thing with the whole Like
• 3:01
  Speaker 2: there's like the whole beat. I guess it's like a
• 3:03
  Speaker 2: real kind of hip hop swing feel to it. And
• 3:07
  Speaker 2: we actually jacked in the second verse, like I think
• 3:13
  Speaker 2: the eminem song like without Me, we like pretty much
• 3:16
  Speaker 2: just yacked the riff of that song and like replicated
• 3:20
  Speaker 2: it with like these little synth chops.
• 3:23
  Speaker 1: Is a bit of an homage just to add add
• 3:25
  Speaker 1: extra hype. So yeah, I like that.
• 3:28
  Speaker 2: I like the hip hop vibes, and yeah, I.
• 3:33
  Speaker 1: Was really proud of the chorus.
• 3:35
  Speaker 2: I kind of like freeballed that the top line to
• 3:38
  Speaker 2: that chorus, and I felt like because the rest of
• 3:40
  Speaker 2: the song is just like so chaotic, and the chorus
• 3:45
  Speaker 2: to me just felt like almost like Disney. I felt
• 3:48
  Speaker 2: like it would it could almost you could almost sort
• 3:51
  Speaker 2: of be it in a Disney movie. But you know,
• 3:53
  Speaker 2: if it wasn't for all the f bombs.
• 3:57
  Speaker 4: All right, So breaking Up with follow There's a quirky
• 4:00
  Speaker 4: dose of stamples quickly ushering in a serving and saxophone
• 4:03
  Speaker 4: that is funky as fuck. This is a rock dragged
• 4:06
  Speaker 4: slab of sultry dynamics, shuffling along at an infectious past
• 4:09
  Speaker 4: that things to put Emming on edge as she boldly
• 4:11
  Speaker 4: declares that she is breaking up with herself. He's up
• 4:14
  Speaker 4: to I guess things aren't that bad. This track is
• 4:17
  Speaker 4: a rollicking fun time smothered in layers of sonic pleasantries
• 4:20
  Speaker 4: that suggests RedHook's tongues were firmly planted in their cheek
• 4:23
  Speaker 4: when they wrote it, which is also when the band
• 4:25
  Speaker 4: is at their mischievous best.
• 4:29
  Speaker 2: I love that.
• 4:32
  Speaker 1: Nailed it, nailed it.
• 4:33
  Speaker 3: Again, Oh they tell us more.
• 4:38
  Speaker 1: Yeah, I feel like that.
• 4:38
  Speaker 2: Song is very mischievous. I breaking up with to me,
• 4:41
  Speaker 2: I always kind of see it as kind of like
• 4:44
  Speaker 2: either a sequel or I guess it's kind of the
• 4:47
  Speaker 2: antithesis to Bad Decisions.
• 4:49
  Speaker 1: Which is our biggest song. Bad Decisions is all about.
• 4:53
  Speaker 2: I was in a very different headspace when I wrote
• 4:55
  Speaker 2: that song, and like Bad Decisions is kind of just
• 4:58
  Speaker 2: like reveling in feeling like complete another piece of shit,
• 5:02
  Speaker 2: and breaking up with is more about just being like,
• 5:06
  Speaker 2: you know what, I'm not going to do that anymore.
• 5:09
  Speaker 2: I'm going to be I'm going to be nicer to
• 5:10
  Speaker 2: myself and just kind of breaking that cycle of self
• 5:15
  Speaker 2: loathing and self destructive behavior and just.
• 5:19
  Speaker 1: Be less of a shit cunt.
• 5:23
  Speaker 3: That's the best best way to subscribe the whole thing.
• 5:26
  Speaker 2: Yeah, tongue firmly in cheek, in that dog like. The
• 5:29
  Speaker 2: lyrics are just like you know, he goes into it.
• 5:32
  Speaker 2: It's just really taking a piss out of Lord of
• 5:33
  Speaker 2: break up cliches because it's like the lyrics are the
• 5:37
  Speaker 2: lyrics are cheesy, but it's like a fun, a fun, cheesy.
• 5:41
  Speaker 3: Chey girl.
• 5:43
  Speaker 4: The album's first collaboration is NEX, with the Diddy title
• 5:46
  Speaker 4: Hex with an emphasis on three x's In Hex, I'm
• 5:49
  Speaker 4: Told This Trene features Vanna and I'm going to go
• 5:51
  Speaker 4: out on a limb here and say she was invited
• 5:53
  Speaker 4: for a vocal prowess, not the correct the band spelling.
• 5:56
  Speaker 4: More samples warm things up before emy joints proceedings with
• 5:59
  Speaker 4: a sorllly dissonance that matches the hypnotic soundscape of the song.
• 6:02
  Speaker 4: Music turns into more of a shuffle as things take
• 6:04
  Speaker 4: a turn into dangerous territory, with spouts of aggressiveness matched
• 6:08
  Speaker 4: beautifully by pursposeful and militant drumming from Alex Powie's The
• 6:12
  Speaker 4: port chub Thumper has been mostly suppressed by an eclectic
• 6:15
  Speaker 4: assortment of samples and electronics up into Your Hour, but
• 6:17
  Speaker 4: it seems as though he has finally put his foot
• 6:19
  Speaker 4: down figuratively and casting sonic intruders to the side, if
• 6:22
  Speaker 4: only momentarily we unleashed the Beast. True, it's actually the
• 6:29
  Speaker 4: first time you really get to get to hear every
• 6:31
  Speaker 4: one the album, because the samples sort of do take
• 6:33
  Speaker 4: a bit of a bit of a lead, I guess
• 6:35
  Speaker 4: for a little while, but it's the first time.
• 6:36
  Speaker 3: You actually hear the rest of the stuff behind it. Fully.
• 6:39
  Speaker 2: I think, oh, that's good to know. Yeah, as you've
• 6:42
  Speaker 2: got to do that with the heavier songs, I think
• 6:43
  Speaker 2: the drums. The drums are so important to I guess,
• 6:47
  Speaker 2: like the energy and just the impact.
• 6:50
  Speaker 1: Of some of those of some of those heavier parts.
• 6:53
  Speaker 1: So glad the little guy.
• 6:57
  Speaker 3: Here's one for the little fellas.
• 7:01
  Speaker 1: Hell, Alex, love you mates, respect.
• 7:04
  Speaker 4: Brother, Okay, Holding Absence appear on the next track, Doctor
• 7:08
  Speaker 4: Frankenstein as an electronically champered with vocal intro pay homage
• 7:12
  Speaker 4: to the Good Doctor before Emmy guides into the track
• 7:14
  Speaker 4: with a measured opening salvo of tempered restraint that you
• 7:17
  Speaker 4: just know isn't going to last, and she doesn't disappoint,
• 7:20
  Speaker 4: working herself into a ball of anger directed once more
• 7:22
  Speaker 4: of the Good Doctor who seems to have raised the
• 7:24
  Speaker 4: ire of all and sundering quite a surprise look at
• 7:28
  Speaker 4: things from a different perspective, And I'm guessing this is
• 7:30
  Speaker 4: one of the members from Holding Absence because from memory,
• 7:32
  Speaker 4: I haven't heard any of the red hooks gentlemen breaking
• 7:34
  Speaker 4: diverse like this before.
• 7:38
  Speaker 2: Well, well spotted, well spotted. Although Craig Craig has been
• 7:43
  Speaker 2: attempting to sing the feature live and been doing a
• 7:45
  Speaker 2: really good job. Actually, like you can you can hit
• 7:47
  Speaker 2: those notes and they're really high notes. But yeah, Lucas
• 7:52
  Speaker 2: like I wrote, I wrote this song specifically to have
• 7:56
  Speaker 2: a male feature and Lucas from holding absence with number
• 7:59
  Speaker 2: one on the list. We're such a huge, such huge
• 8:03
  Speaker 2: fans of that band. And uh when he came back
• 8:06
  Speaker 2: to us and said that he liked the song and
• 8:08
  Speaker 2: he wanted to do it, I.
• 8:09
  Speaker 1: Was like, and he didn't disappoint He knocked it. He
• 8:15
  Speaker 1: knocked it out of the park. He is incredible and
• 8:19
  Speaker 1: has made that song so much more incredible.
• 8:21
  Speaker 4: Nice bomb dot com explode us from the blocks. Next
• 8:25
  Speaker 4: a med a tumultuous mixing of guitars and electronics that
• 8:27
  Speaker 4: slowly build to a frescendo before Emmy Fire is a
• 8:30
  Speaker 4: rapid pace and authority of showering of lyrics.
• 8:32
  Speaker 3: It is difficult to keep.
• 8:33
  Speaker 4: Pace with sonic heaviness seems to intensify at every opportunity,
• 8:37
  Speaker 4: oscillating between the machine guns, spat vocals, and a heavy
• 8:40
  Speaker 4: bottom end from bass player Ned, dancer vinc and guitarist
• 8:43
  Speaker 4: Craig Wilterson.
• 8:44
  Speaker 3: That is sensationally brutal.
• 8:46
  Speaker 4: Now, before you point out that both Ned and Craig
• 8:48
  Speaker 4: are responsible for more than just bassing guitar, I already know.
• 8:51
  Speaker 4: But the fact I dessfully separate anything outside of these
• 8:53
  Speaker 4: instruments when it comes to sonic structure, means that, as
• 8:56
  Speaker 4: far as I'm concerned, that is their primary objective here.
• 8:58
  Speaker 4: I'm sure both of them would argue violently at this assessment.
• 9:02
  Speaker 4: Adrenaline field anarchy from every angle, with even the electronic
• 9:05
  Speaker 4: contributions providing threatening sense of menace that enhances the carriage
• 9:09
  Speaker 4: raging around it.
• 9:13
  Speaker 1: Adrenaline field anarchy. I love that, love that. Yeah, we
• 9:17
  Speaker 1: wrote we wrote that song for the pit.
• 9:20
  Speaker 3: Yeah, that's that's my favorite so far. It's a fucking pearla.
• 9:23
  Speaker 1: Oh yeah, I got to dig it. It's it's gonna
• 9:25
  Speaker 1: be a fun one for live.
• 9:26
  Speaker 3: I reckon, have you did you play it live overseas?
• 9:29
  Speaker 1: We haven't played it. We haven't learnt it yet. We
• 9:31
  Speaker 1: didn't have time, but we will. We will well.
• 9:34
  Speaker 2: I think, look, the drums in that song are pretty hectic,
• 9:38
  Speaker 2: so I think let's get it.
• 9:40
  Speaker 1: Definitely.
• 9:41
  Speaker 2: I think it was definitely put Alex to his paces
• 9:44
  Speaker 2: in the studio, but he nailed it. But we're gonna
• 9:47
  Speaker 2: have to brush up a little bit in the in
• 9:49
  Speaker 2: the rehearsal studio before we are busted out live.
• 9:52
  Speaker 3: But it'll happen.
• 9:53
  Speaker 2: I reckon the next I reckon next, next show we play,
• 9:56
  Speaker 2: We'll have it, particularly when you come.
• 9:59
  Speaker 3: To Brisbane.
• 10:01
  Speaker 1: Imagined. That's so funny. I try it, just turned it
• 10:11
  Speaker 1: into a ballad.
• 10:15
  Speaker 4: Okay, So for some reason, Eddie Murphy springs to mind
• 10:18
  Speaker 4: as I read through the next trap. As I read
• 10:20
  Speaker 4: through the next track, Hot Tub, but a dancing wave
• 10:23
  Speaker 4: of electronics soon pushes him out as Hot Tub starts
• 10:25
  Speaker 4: to steam things up. I'm actually quickly starting to warm
• 10:28
  Speaker 4: to the eighties inspired robotics and enhancements. But don't tell anyone,
• 10:32
  Speaker 4: because I'll call bullshit straight up. The playfullest Emmy's voice
• 10:36
  Speaker 4: on this song that remains even when she starts to
• 10:38
  Speaker 4: throw random bucks at some unseen adversary. A tasty guitaric
• 10:42
  Speaker 4: from Milkinson acts as a perfect segue back into fucking
• 10:44
  Speaker 4: sound as Red Hook go all out retro, finally without
• 10:47
  Speaker 4: a production line of distractions to soopen the blow.
• 10:51
  Speaker 1: Ooh, I like it. I didn't know you'd like this song.
• 10:56
  Speaker 1: I actually like this one.
• 10:58
  Speaker 2: Yeah you do.
• 10:59
  Speaker 1: Yeah, one of the least heavy songs on the album.
• 11:01
  Speaker 1: But I think it's it's just a party. It's a big, old,
• 11:04
  Speaker 1: big old Party be all Hot sub Party.
• 11:08
  Speaker 4: So am I correct in saying here that the use
• 11:10
  Speaker 4: of electronics and stamp on this album is a lot
• 11:12
  Speaker 4: more than on the first one.
• 11:14
  Speaker 2: Yeah, we definitely had like a fucking good jillion layers
• 11:17
  Speaker 2: of Simpson samples. We're just like we just wanted to
• 11:21
  Speaker 2: put it on steroids and just like just make every
• 11:23
  Speaker 2: song like as huge as it could possibly be. With
• 11:25
  Speaker 2: that said, like, everything's everything's playing a part, Everything's everything's
• 11:29
  Speaker 2: got a purpose.
• 11:30
  Speaker 4: Cannibal featuring rapidly rising OSSI medalers Alpha Wolf threatens to
• 11:33
  Speaker 4: spicings up, but instead begins with the deliberately measured intent
• 11:37
  Speaker 4: that suggests maybe these particular cannibals and vegetarians, But they
• 11:41
  Speaker 4: soon regain their hunger, if only fleetingly, as Amy person
• 11:44
  Speaker 4: aligns with only sporadic moments and malevolence that allows for
• 11:47
  Speaker 4: a smooth and seamless transition between light and shade that
• 11:50
  Speaker 4: has led this time by both als instead of instrumentalization.
• 11:53
  Speaker 3: But just when you think she is maybe starting.
• 11:55
  Speaker 4: To find it in a zen, Emmy exploders in a
• 11:57
  Speaker 4: sudden verse of aggression that almost catches you by surprise.
• 12:00
  Speaker 4: All of a sudden, the Cannibal needs to feast, and
• 12:02
  Speaker 4: feasted LA's Alpha Boys come to the party in a
• 12:05
  Speaker 4: smiling wave of unrestrained anger that still resonates the next track,
• 12:08
  Speaker 4: like Hell's folders in the line.
• 12:11
  Speaker 1: Oh, I like the vegetarian line. That was clever. That
• 12:19
  Speaker 1: was clever. I like it. I like it. It's restraint.
• 12:22
  Speaker 2: You know, you've got to pick your moments to go
• 12:24
  Speaker 2: ham in this in this band, the bands are all
• 12:29
  Speaker 2: ham But.
• 12:30
  Speaker 3: You's got a little bit of cheese with your hand.
• 12:33
  Speaker 1: Yeah, so you can't hand without cheese. Ultimate sandwich.
• 12:40
  Speaker 3: Now, tell us more about the song and working with
• 12:41
  Speaker 3: Alpha Wolves.
• 12:43
  Speaker 1: Oh, yeah, it was sick. It was so so good.
• 12:45
  Speaker 1: I was a bit nervous because this song, these songs.
• 12:48
  Speaker 4: Like.
• 12:50
  Speaker 1: I don't even know what this song's about.
• 12:52
  Speaker 2: I don't know if you read the press release, but
• 12:54
  Speaker 2: this songs this song is all about blow jobs. It's
• 12:56
  Speaker 2: like it's all about Yeah, it's it's a it's a
• 12:59
  Speaker 2: sexy song. And I was like, man, because you know,
• 13:01
  Speaker 2: like a lot of a lot of there's not a
• 13:04
  Speaker 2: lot of sex positivity and sexual empowerment in a heavy music,
• 13:09
  Speaker 2: in traditional metalcore, So I wasn't sure, like if we'd
• 13:13
  Speaker 2: be able to find a band who'd be keen and
• 13:15
  Speaker 2: like Alpha Wolf would just like so about it. They
• 13:18
  Speaker 2: were just like, fuck, yeah, let's do this, and they
• 13:21
  Speaker 2: just knocked it out of the park.
• 13:23
  Speaker 1: And yeah, they were just they're just fucking legends.
• 13:26
  Speaker 3: They are.
• 13:26
  Speaker 1: They're just killing it so hard and we feel very,
• 13:28
  Speaker 1: very privileged to have gotten to work with them.
• 13:31
  Speaker 4: Did you actually consider the dynamics that play here like
• 13:34
  Speaker 4: a cannibal giving a blow job.
• 13:37
  Speaker 1: That's the first thing you think about. No, I can't
• 13:40
  Speaker 1: explain how my mind works.
• 13:41
  Speaker 2: I don't know.
• 13:44
  Speaker 1: They're probably probably hurt.
• 13:47
  Speaker 3: Well, speaking of hurt, hurt like hell.
• 13:51
  Speaker 4: Exctasy everybody claimed a sultry innocence that punctuates much of
• 13:55
  Speaker 4: her work. Her ability to paint a sonic landscape just
• 13:58
  Speaker 4: by ordering your vocals or attitude is feature mutation. In fact,
• 14:01
  Speaker 4: the contributions from all four members is practically flawless, showing
• 14:05
  Speaker 4: a maturity that shouldn't manifest in just eighteen months.
• 14:08
  Speaker 1: Oh that's so nice. I love that. Thank you that
• 14:12
  Speaker 1: actually this is in this moment that actually thinks more
• 14:14
  Speaker 1: to me. Thank you and tell us how the song, uh,
• 14:21
  Speaker 1: like hell, it is just it's just like a cool
• 14:24
  Speaker 1: rockout track.
• 14:27
  Speaker 2: It's got like that I really love, like the dirty
• 14:29
  Speaker 2: swing roof and like the carnival clown sort of synth
• 14:33
  Speaker 2: that it's got going on, And yeah, I think it's
• 14:37
  Speaker 2: it's just more of a kind.
• 14:38
  Speaker 1: Of just like a straight straight rock track.
• 14:41
  Speaker 4: So Party Zombie sounds like an oxymoron before it even starts,
• 14:45
  Speaker 4: with an area electronic intro setting the tone for a
• 14:47
  Speaker 4: restrained number that would be Red Hook's love song if
• 14:49
  Speaker 4: they write such things. Seems the focus of this track
• 14:52
  Speaker 4: is dancing, which would seemingly be difficult for a zombie,
• 14:55
  Speaker 4: but obviously parties are or lively.
• 14:57
  Speaker 3: Who would have thought this.
• 14:58
  Speaker 4: Is perhaps the most pure track mutation in a sense
• 15:01
  Speaker 4: that follows the steady trajectory throughout without varying us sporatically
• 15:03
  Speaker 4: in any given direction.
• 15:05
  Speaker 3: I'm not sure if they threw this in to prove
• 15:06
  Speaker 3: that as a unit Red Hook can follow rules and convention,
• 15:09
  Speaker 3: but I'm not buying it.
• 15:12
  Speaker 2: So fair so fair, Yeah, Party Zombie, Like that song
• 15:17
  Speaker 2: means a lot to me. It's all about kind of
• 15:20
  Speaker 2: just like something that I do a lot when I've
• 15:23
  Speaker 2: been the way that I cope when I'm going through
• 15:26
  Speaker 2: heartbreak or like when things are really shit, it's just
• 15:31
  Speaker 2: like I'll be I'll be out in social situations and
• 15:34
  Speaker 2: just feeling completely dead inside.
• 15:35
  Speaker 1: But then I don't know it kind of like could
• 15:37
  Speaker 1: fake it till you make it thing.
• 15:38
  Speaker 2: Just like you know, just about like you know, laughing
• 15:41
  Speaker 2: while your heartbreaks and uh, you know, dancing booking through
• 15:45
  Speaker 2: the apocalypse and hoping that you know, you can.
• 15:49
  Speaker 1: Sort of fake it till you make it.
• 15:50
  Speaker 2: But in terms of like the this style of the
• 15:53
  Speaker 2: song that it, I think, yeah, it's like a little
• 15:57
  Speaker 2: bit less what's the word like, Yeah, I guess a
• 16:03
  Speaker 2: bit straight out. And that's because the a lot of
• 16:07
  Speaker 2: the influence for that song came from the world of
• 16:10
  Speaker 2: future bass, an artist like a millennium kind of just
• 16:16
  Speaker 2: kind of look a little bit outside the box of
• 16:18
  Speaker 2: heavy music. So that's one that I'm not sure that
• 16:22
  Speaker 2: everyone's going to dig, but I think.
• 16:24
  Speaker 1: The people who who get it will get it.
• 16:27
  Speaker 3: Yeah, Okay.
• 16:29
  Speaker 4: Screen two arrives courtesy of some urgent electronics that are
• 16:32
  Speaker 4: soon superseded by even more urgent drums and guitar that
• 16:35
  Speaker 4: only contestifies the song progresses and sore.
• 16:38
  Speaker 3: The chorus arrives, which brings things back to a more.
• 16:40
  Speaker 4: Sustainable level, and so even it gives up when allows
• 16:42
  Speaker 4: Redhroocks to basically do whatever the fuck they want.
• 16:46
  Speaker 3: Well, why would you want to interfere?
• 16:49
  Speaker 1: I love that.
• 16:49
  Speaker 3: I love that.
• 16:50
  Speaker 2: Yeah, I think like coming off the back of Parties Zombie,
• 16:52
  Speaker 2: we had to we had to bring it back with
• 16:55
  Speaker 2: probably the most chaotic song on the album, which that is.
• 17:00
  Speaker 1: Really it really really is. But it's a lot, but
• 17:03
  Speaker 1: it's a lot of fun.
• 17:04
  Speaker 2: It's a lot of fun with like I was very
• 17:07
  Speaker 2: I know if you can tell in that first verse,
• 17:09
  Speaker 2: I was channeling a lot of system of the down
• 17:12
  Speaker 2: in those vocals.
• 17:14
  Speaker 1: I go back and listen and see, yeah, says Tank in.
• 17:20
  Speaker 3: One of the greats, one of the greats. Indeed. Okay,
• 17:24
  Speaker 3: So Taurists closes.
• 17:25
  Speaker 4: It's a curtain on Mutation and is a fitting finale
• 17:28
  Speaker 4: that acts as both a farewell and a welcoming right
• 17:30
  Speaker 4: of passage, welcoming into respect that after successfully navigating album
• 17:33
  Speaker 4: number two from Red Hook, those still standing are in
• 17:36
  Speaker 4: for a hell of a future ride. If the sonic
• 17:37
  Speaker 4: elevation between Postcards from a Living Hell and Mutation continuous expected.
• 17:42
  Speaker 4: Mutation is a product of a band who are completely
• 17:44
  Speaker 4: comfortable with and within themselves. It's a tribute to the
• 17:46
  Speaker 4: hard work and dedication of a band who will, if
• 17:49
  Speaker 4: the musical gods have any respectability, mark their names amongst
• 17:52
  Speaker 4: the best this country has to offer.
• 17:53
  Speaker 3: Nice work, kids, Oh.
• 17:57
  Speaker 1: Cry, I'm so glad you liked it.
• 18:04
  Speaker 4: I think it was an awesome album, really really well.
• 18:07
  Speaker 4: That album thoroughly impressed.
• 18:09
  Speaker 2: Oh my brother, I don't know what to say. It
• 18:12
  Speaker 2: means a lot to me. It means a lot to me.
• 18:13
  Speaker 2: We obviously, you know, we worked very hard on it. Blood, sweat, tears,
• 18:18
  Speaker 2: all the juices.
• 18:20
  Speaker 3: All the Jesus blower, all the Jesus.
• 18:24
  Speaker 1: But but yeah, thank you so much.
• 18:26
  Speaker 2: That was That was an incredible review. That was That
• 18:29
  Speaker 2: was fantastic and my heart is very full after hearing it.
• 18:32
  Speaker 1: So thank you so much.
• 18:35
  Speaker 4: Pleasure and Mutation will be released on November twenty second.
• 18:38
  Speaker 4: So where can people get a hold of it?
• 18:41
  Speaker 1: Everywhere? It'll be like wherever you streamy tunes.
• 18:44
  Speaker 2: But if you want to, if you want to link
• 18:46
  Speaker 2: to it, just go on our socials. It's we are
• 18:50
  Speaker 2: red hook on literally everything, and you'll be able to
• 18:53
  Speaker 2: hunt it down.