After almost two decades of bending rock’s edges, RedLight return with Homeworks , an album that sounds like sweat, grit, and honesty bottled up in ten tracks. Recorded, mixed, and produced entirely by guitarist Dapé in a home studio in Le Rove (13740), this project feels like a love letter to the band’s roots and a declaration of creative independence. The record is homegrown but heavyweight, full of foot-stomping rhythms, head-nodding hooks, and that deep, magnetic voice from Londres that anchors everything. Let’s break it down, track by track.
“Hold On”, The opener wastes zero time. “Hold On” kicks off with gritty guitars and a drum groove that practically dares you not to move. Londres’ voice hits deep and steady, carrying the weight of resilience and defiance. It’s a song for anyone who’s ever held on through chaos, muscular rock energy, but with melody that sticks. A killer way to open the album.
“As Always” This one slides into something smoother, still rock, but moodier. “As Always” feels nostalgic, with shimmering guitar textures and lyrical introspection. Londres’ vocals go tender here, showing his range while keeping that gruff authenticity. Think The Cure meets Foo Fighters in a smoky Marseille dive bar.
“Idea of Mine” is the most danceable cut on the record, mixing RedLight’s alt-rock energy with an almost punkish drive. The bassline from Guy is front and center, driving the song’s heartbeat while Seb’s drums keep it tight and punchy. It’s catchy, loud, and slightly unhinged in the best way.
“Wrong” A darker turn “Wrong” is slow-burn intensity. Heavy guitars, haunting harmonies, and a steady rhythm that builds into an emotional eruption. You can feel that DIY rawness; it’s unpolished but electric. Londres sounds like a man wrestling his own conscience, and it’s riveting.
“Like the Poet” This one’s got soul. “Like the Poet” fuses spoken-word lyricism with a melodic hook that feels timeless. Dapé’s guitar lines weave beautifully around Londres’ vocals, creating something that feels part grunge, part alternative storytelling. It’s the thinking man’s rock song, passionate without pretension.
“Lonely Dog” The groove track. “Lonely Dog” feels bluesy and swaggering, a bit of The Black Keys, a bit of Queens of the Stone Age. It’s the kind of track that sneaks up on you. The lyrics play with solitude and loyalty, wrapped in distortion and attitude.
“Spiderbed and a Crime” Now we’re getting cinematic. “Spiderbed and a Crime” is eerie and brooding, with a creeping bassline that feels like something from The Cure’s darker catalog. It slowly morphs into an explosive rock climax, equal parts beauty and chaos. Easily one of the most ambitious and atmospheric tracks on Homeworks.
“Les dérives” The band’s French roots shine here. “Les dérives” brings a new texture, sung in French, with sharp guitars and punk undertones. It’s raw, rhythmic, and confident, like a nod to their Marseille heritage. Londres’ deep vocals sound especially powerful in his native tongue, giving this track an emotional edge that’s impossible to fake.
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“This Plague” returns to the heavy side, slow tempo, huge riffs, and lyrics that feel like social commentary disguised as poetry. There’s a creeping sense of urgency and unease that builds throughout the song, making it one of the darker, more politically charged moments on the album.
“Turn Around” ties the whole record together, a hopeful note after all the introspection and chaos. The chorus soars, the guitars shimmer, and Londres sounds like he’s finally found some kind of peace. It’s both a goodbye and a new beginning, leaving listeners with that satisfied ache that only great albums pull off.
Homeworks is the sound of a band doing exactly what they want, no filters, no label interference, no filler. It’s real, it’s raw, and it’s RedLight at their most grounded yet. From grunge grit to danceable grooves, the album blends nostalgia with new fire, proving that DIY rock is still alive and kicking in 2025. Whether you’re here for the riffs, the poetry, or the energy, Homeworks delivers all three.
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