Based out of Toronto R.E.D. (Raised Emotionally Dead) is built on five distinct yet harmonious characters, each contributing their own unique element to the act's sonic flair and making it a phenomenon that simply must be shared.
It is said that the stage is the arena in which Raised Emotionally Dead truly shines, combining the synchronized intensity of the crowd with their sensory barrage of lyrical hooks and melodies.
A good two years after the release of the Canadian's debut album I was sent their first CD, a digipack comprising 9 songs without intros, outros or intermezzos.

With "Channel Radio" the band shows a mid-tempo where all its characteristics are included: angry vocals, Mansionesque static structures and a dirty wicked feeling.
"Shed it" is faster, also includes some Marylin Manson vocals and other more adrenalinic ones in the vein of Murderdolls and a vein of Hellacopters; being so tight and scorching, it's no surprise the song was chosen for a video.
The situation changes a bit with "Selfish Inc.", sleazy HR with a good hook not so distant from Sixx A:M; this song makes you understand why the combo was chosen to open for Vince Neil, Gilby Clark, Faster Pussycat, L.A.Guns, John Corabi, The Birthday Massacre, DOPE, Dog Fashion Disco, Trash Light Vision, Carnival Diablo, Nash the Slash and many more. 
"Resistance" is like Soil on acid and vitaminized and contains the best chorus of the record; alternative Heavy Metal with a nice slow solo (one of the few axe solos of this album); heavy drums, echoed vocals, corrosive vocals, this song does have it all, you betcha!
I simply adore the guitar plot in "Code Red", embellished by an initial sublime riff, based upon drunk vocals and other irresistible ones close to Rob Zombie's; there's also a riff borrowed from Guns N Roses later, but besides this fault the song is decidedly involving. The bass exploits nice lines and there are even keyboards lines at the end.
"Faceless" steals Metallica one of their most popular riffs, yet later becomes one of R.E.D.'s finest compositions: dark, hypnotic and effective in its penetration capacity, the diverse types of vocals (layered, effected or single) offer the peak the five-piece off Canada can achieve at the moment.
The effected vocals and the keys effects within "Out of Control" show a facade near NIN, still the main riff following and the corresponding vocals in the excellent refrain frame constitute a veering towards Black Sabbath and King Diamond; as if this weren't enough Indie rock guitar licks are also present afterwards.
Marylin Manson-like vocals appear again in "Messenger" on a musical texture alà Deftones; appreciable is the axe solo, not skillful but stylized; upon the whole the atmosphere of this song gives the so-busy-in-chiselling guitars and voice the opportunity of seizing the listener's mind without efforts.
"Applaud" was chosen as closer, probably owing to its strong arena Rock twist; fancy a mix of Nirvana, Foo Fighters, Danko Jones and Wednesday 13 in appearance order.

The production is raw and unclean, meant to exalt the drums and vocals first, then the guitars, bass and backing vocals, and in the end the keyboards when utilized.
The lyrics tell of the revolution soundtrack, negative situations experienced, troubling people met, greed, selfishness and resistance to the system.
Anyone can amuse themselves generally to the aforementioned genres and imagine a mixture of the above formations, is in the right place here and will be happy with "Memo".