Until We Have Faces [Import]

Essential Records' two time GRAMMY-nominated hard rock outfit RED packs a potent sonic punch on its third project, Until We Have Faces, a record that leaps out of the speakers with a ferocity and complexity reflecting the band's growth and intensity. From the opening seconds of "Feed The Machine" through the final, contemplative moments of "Hymn For The Missing," the four-man unit of vocalist Michael Barnes, guitarist Anthony Armstrong, bassist Randy Armstrong and drummer Joe Rickard shows both maturity and abandon can coexist within the various dimensions of rock RED inhabits. I'm truly a fan of this band now. Since getting hooked by the amazing music and excellent vocals by Mike Barnes, I've had some time to listen more closely to the themes of all three albums. "Breathe Into Me," "Already Over," "Lost," "Fight Inside" and "Death Of Me" are such intense rock songs, I didn't think RED could possibly have another level, however the opening guitar hook and Michael's scream to kick off "Feed The Machine" proved me wrong. The chorus has me totally captivated: "We fall in line, we live the lie, Give up, give up and feed the machine." Even if you don't normally listen to hard rock albums, the artistic nature of these songs draws you in and elicits an emotional response. As hard as "Feed The Machine" starts, it ends with a soft choral and orchestral arrangement that just calms you. This excellent rock album totally brings the perfect package of heavy rock guitars and the emotive vocal punch and gorgeous strings found in the two previous RED albums.

The new album's overarching theme is a search for true identity, inspired by a number of sources, including author C.S. Lewis' book of similar title, Till We Have Faces. The band itself is working through its own new identity - as a four-piece with the addition of drummer Rickard. Until We Have Faces takes listeners down the path of recognizing the hollowness of life until finding their true identity on first single "Faceless," which has quickly become my all-time favorite song by this incredible band. I've been constantly singing the chorus, "I'm not, I'm not myself, Feel like I'm someone else, Fallen and faceless, So hollow, hollow inside, A part of me is dead, Need You to live again, Can you replace this? I'm hollow, hollow and faceless." "Lie To Me (Denial)" keeps the rock flow going and the theme of this album is very cohesive as the songs all point to the concept of finding our true identity. The idea of creative destruction unveiled in the midst of new life is found on "Let It Burn," and simultaneously presenting the positive energy found even "in a world so cold" is explored on the infectious, melodic ballad "Not Alone." These are truly some of the deepest rock songs I've ever heard as they all challenge me and I can't wait to see the band perform these new songs in concert, especially the rock anthem "Who We Are," which has one of the best guitar parts I've ever heard. "Hymn For The Missing" is the incredible closing song which is a wonderful ballad and reminds me of "Pieces" from End Of Silence and "Take It All Away" from Innocence & Instinct. The song accentuates Michael's tender vocals and features new artist Kerrie Roberts singing a gorgeous harmony at the end of the song. Paired again with award-winning producer Rob Graves, Until We Have Faces features RED in its most musically intense place to date.

CLOSING THOUGHTS
I am so impressed by the music and production mingling the harder rock guitars, soft strings and the emotive vocals of Mike Barnes, I even enjoy the `screaming' in the harder songs "Feed The Machine" and "The Outside." The messages throughout many of the songs are very positive and although RED has had mainstream success, I don't question the spiritual seeking nature of the lyrics, which are naturally much more Christ-centered than mainstream metal bands like Linkin Park that many have accurately compared to RED. To me, the stand-out songs are "Feed The Machine," "Faceless," "Lie To Me (Denial)," "Let It Burn," "Not Alone," "Who We Are" and the epic closing song "Hymn For The Missing." This album firmly establishes RED as the premier rock band in all of Christian music. If you like Pillar, Breaking Benjamin and Linkin Park, then you'll enjoy RED. Until We Have Faces is the crowning achievement by this incredible rock band and will certainly be among my top albums of 2011.

Mainstream hard rock is an unfortunate genre, generally stacked with a list of number one hits that reach the top less by musical talent and more by their clean fit into blockbuster films and into fashionable youth-centered shopping outlets. Red certainly does not bother trying to break out much, even if it fits in the heaviest subcategory of the over-filled genre. However, Red has an "X" factor here - it may be all formula, but it is also all heart.

The biggest thing that separates "Until We Have Faces" from the Nashville rockers' previous work is a much-welcomed substitution of melodrama with genuine talent. It's never been easy (if even possible) to lodge a complaint against lead singer Barnes' vocal prowess - fluctuating between a smoother Chris Daughtry at times, a rather angry Josh Groban at others, and, impressively, an emotionally charged Tim Lambesis (of As I Lay Dying fame) at yet others. Yet, with this album, the music quality has been kicked up more than just a notch. The safe-rock characteristics of Red's previous albums have been ditched in favor of much more ambition. Guitars are split into multiple parts rather than played in unison, and drums pound out much more complex rhythms, using the double-bass pedal much more than what would be expected from a band of this genre. There is actually quite a bit of heavy metal influence here - more so than many self-proclaimed "metal" bands themselves convey. Likewise, the strings, synths, and background vocals are cut down to see time only when they are appropriate, not every moment (looking at you, "Innocence and Instinct").

In fact, this album really never works against itself. Production quality is arguably perfect, and the track listing provides an interesting listen from start to finish. The kickoff comes in the form of the incredibly aggressive "Feed the Machine." Where most hard rock bands would suffice with a short, two-and-a-half-minute burst of energy at the beginning of an album, Red effectively draws the song out for over five minutes. Since the rest of the album never really matches the intensity found here at the start, the length is actually appreciated because it's just so satisfying. It is said that it is better to leave the listener wanting more than wanting less, but finding that sweet spot between the two is an achievement on its own. "Faceless" slows things down just a bit, but compliments the first song perfectly. The album feels rather formulaic from this point on, but it is almost impossible not to get behind the tight rhythms, technical riffs, and gorgeous melodies heard throughout. The album swings between heavy ballad and fist-pumping rock from here, with the climax coming in at "Watch You Crawl," which reinstates some of the energy found in "Feed the Machine" to carry the album to its end. This is where the listener hears Red at their finest, laying down some of the best lyrical, melodic, and rhythmic work the band has ever done. The album's energy starts to decline at this point, but only on a smooth curve that keeps things interesting. "Best Is Yet To Come" is the last (and best) rock ballad of the album, and it's followed by the epic "Hymn for the Missing" which starts out softly with pianos and strings and, thankfully, remains soft until the end.

Red's latest is, at its core, the perfect mainstream hard rock album. The lyrical message is honest yet hopeful and upbeat, the music is well-crafted and nuanced with technical complexity, the production is tight, and the vocals stand out as some of the best in any genre today. Red has certainly proven themselves to be forceful and aggressive while retaining a wide appeal. Perhaps the subtle ambition in this album will further spur the group to think a bit more outside the box and craft something more unique on their next project, but for now, "Until We Have Faces" is as impressive as modern rock albums come. If modern mainstream rock is remembered twenty years from now, Red should be one of the names associated with the genre. Here is an album that makes stereotypical schlock un-typically slick.

Ten-Point Scale: 8.5 out of 10
Genre: Hard Rock / Modern Rock
Recommended: Highly

NOTE: Many people have complained that this album is, in fact, not heavier than their previous work, which was something hyped about the album. This is a misunderstanding of the term "heavy" - More overall volume, louder guitars, or faster drums do not make for a "heavier" sound, per se. It would be nearly impossible to make anything here "louder" than their previous work and it still be digestible at all. This album incorporates many more heavy-metal-styled riffs and rhythms than in previous works, which results in a significantly heavier musical structure. Red has always been louder and more aggressive-sounding than, say, even most Metallica, yet Red remains mainstream rock and Metallica remains heavy metal. Red is, however, much more pop-like in song structure and chord progression, while Metallica does far more experimentation and uses both fast and slow rhythmic breakdowns and guitar solos/duets to achieve it's sound. In this regard, "Until We Have Faces" more closely resembles classic metal than simply much-louder pop-rock. This is just an observation from a musician - perhaps this sheds light on why I (as well as Red) view this album as being much heavier than the others.

Essential Records' two time GRAMMY-nominated hard rock outfit RED packs a potent sonic punch on its third project, Until We Have Faces, a record that leaps out of the speakers with a ferocity and complexity reflecting the band's growth and intensity. From the opening seconds of "Feed The Machine" through the final, contemplative moments of "Hymn For The Missing," the four-man unit of vocalist Michael Barnes, guitarist Anthony Armstrong, bassist Randy Armstrong and drummer Joe Rickard shows both maturity and abandon can coexist within the various dimensions of rock RED inhabits. I'm truly a fan of this band now. Since getting hooked by the amazing music and excellent vocals by Mike Barnes, I've had some time to listen more closely to the themes of all three albums. "Breathe Into Me," "Already Over," "Lost," "Fight Inside" and "Death Of Me" are such intense rock songs, I didn't think RED could possibly have another level, however the opening guitar hook and Michael's scream to kick off "Feed The Machine" proved me wrong. The chorus has me totally captivated: "We fall in line, we live the lie, Give up, give up and feed the machine." Even if you don't normally listen to hard rock albums, the artistic nature of these songs draws you in and elicits an emotional response. As hard as "Feed The Machine" starts, it ends with a soft choral and orchestral arrangement that just calms you. This excellent rock album totally brings the perfect package of heavy rock guitars and the emotive vocal punch and gorgeous strings found in the two previous RED albums.

The new album's overarching theme is a search for true identity, inspired by a number of sources, including author C.S. Lewis' book of similar title, Till We Have Faces. The band itself is working through its own new identity - as a four-piece with the addition of drummer Rickard. Until We Have Faces takes listeners down the path of recognizing the hollowness of life until finding their true identity on first single "Faceless," which has quickly become my all-time favorite song by this incredible band. I've been constantly singing the chorus, "I'm not, I'm not myself, Feel like I'm someone else, Fallen and faceless, So hollow, hollow inside, A part of me is dead, Need You to live again, Can you replace this? I'm hollow, hollow and faceless." "Lie To Me (Denial)" keeps the rock flow going and the theme of this album is very cohesive as the songs all point to the concept of finding our true identity. The idea of creative destruction unveiled in the midst of new life is found on "Let It Burn," and simultaneously presenting the positive energy found even "in a world so cold" is explored on the infectious, melodic ballad "Not Alone." These are truly some of the deepest rock songs I've ever heard as they all challenge me and I can't wait to see the band perform these new songs in concert, especially the rock anthem "Who We Are," which has one of the best guitar parts I've ever heard. "Hymn For The Missing" is the incredible closing song which is a wonderful ballad and reminds me of "Pieces" from End Of Silence and "Take It All Away" from Innocence & Instinct. The song accentuates Michael's tender vocals and features new artist Kerrie Roberts singing a gorgeous harmony at the end of the song. Paired again with award-winning producer Rob Graves, Until We Have Faces features RED in its most musically intense place to date.

CLOSING THOUGHTS
I am so impressed by the music and production mingling the harder rock guitars, soft strings and the emotive vocals of Mike Barnes, I even enjoy the `screaming' in the harder songs "Feed The Machine" and "The Outside." The messages throughout many of the songs are very positive and although RED has had mainstream success, I don't question the spiritual seeking nature of the lyrics, which are naturally much more Christ-centered than mainstream metal bands like Linkin Park that many have accurately compared to RED. To me, the stand-out songs are "Feed The Machine," "Faceless," "Lie To Me (Denial)," "Let It Burn," "Not Alone," "Who We Are" and the epic closing song "Hymn For The Missing." This album firmly establishes RED as the premier rock band in all of Christian music. If you like Pillar, Breaking Benjamin and Linkin Park, then you'll enjoy RED. Until We Have Faces is the crowning achievement by this incredible rock band and will certainly be among my top albums of 2011.