- Original Release Date: February 1, 2011
- Label: Essential Records
- Copyright: (P) 2011 Provident Music Group LLC, a unit of Sony Music Entertainment
- Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
- Total Length: 46:09
- Genres:
- ASIN: B004KBM6W0
- Average Customer Review: 4.7 out of 5 stars See all reviews (99 customer reviews)
- Amazon Best Sellers Rank: #15,313 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)
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| Title | Time | Price | ||
|---|---|---|---|---|
| Play | 1. Feed The Machine | 5:10 | $1.29 | |
| Play | 2. Faceless | 3:23 | $1.29 | |
| Play | 3. Lie To Me (Denial) | 4:14 | $1.29 | |
| Play | 4. Let It Burn | 4:57 | $1.29 | |
| Play | 5. Buried Beneath | 3:46 | $1.29 | |
| Play | 6. Not Alone | 4:08 | $1.29 | |
| Play | 7. Watch You Crawl | 3:42 | $1.29 | |
| Play | 8. The Outside | 3:14 | $1.29 | |
| Play | 9. Who We Are | 3:54 | $1.29 | |
| Play | 10. Best Is Yet To Come | 4:04 | $1.29 | |
| Play | 11. Hymn For The Missing | 5:37 | $1.29 | |
| Digital Booklet: Until We Have Faces - Digital Booklet | n/a | Album Only |
Product Details |
Customer Reviews
Most Helpful Customer Reviews
32 of 32 people found the following review helpful
Format:Audio CD
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.
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.
20 of 22 people found the following review helpful
Format:Audio CD
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.
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.
14 of 16 people found the following review helpful
By Jack
Format:Audio CD
First, let me just say that I had fully planned to not buy this album because I am only interested in physical releases and I will never switch over to buying mp3 albums. When I saw that Itunes was getting an exclusive track called "Until We Have Faces", I made the decision that I was done letting record labels punish me (and other true fans who do want the physical releases) by giving us less music for our money. Nothing encourages piracy more in my eyes than when record labels/bands cut songs off of albums and try to sell us incomplete albums or give certain versions/countries exclusive songs. All fans should be treated equally, no matter where they buy their albums or in whatever format they choose.
However, after I was able to confirm that (this rare time) the exclusive Itunes track was only an instrumental intro (albeit one that should have stayed as an intro for "Feed The Machine" on the physical release), I went ahead and bought a copy of this new album, and I am glad I did. Despite what many Red fans are saying though, I find this to be Red's softest album to date. Really only "Feed The Machine", "Faceless", "Who We Are" and "The Outside" are what I would consider the 'heavier' type songs. This album has several mid--level rocker tracks and a few power ballads and these songs are the ones that stand out for me. I am a sucker for great melodies and memorable hooks and they definitely deliver. These songs include "Lie To Me (Denial)" which is destined to be a future single, "Let It Burn", "Buried Beneath" (which is another catchy song with a great chorus hook), "Not Alone" and the anthem-like "Who We Are" (although there is some annoying static-like noise in this song). Honestly, there was not one song I wanted to skip though.
With that being said, the song that impressed me the most is the piano/orchestra driven album closer "Hymn For The Missing". The chorus of this song has such a beautiful melody to it that I got chills when I heard it. And then to top it off, there are some subtle (but gorgeous) etheral female vocals harmonizing in the background, which really compliments the orchestra especially as it picks up for the haunting instrumental climax at around the 4:30 mark. Perhaps my only complaint about this soul soothing song is that after the instrumental climax, I would have loved to hear one final chorus with both Michael Barnes and Kellie Roberts (the female vocalist) singing together. But even without this, the song is powerful and easily compares with "Pieces" from their debut release for being their most beautiful song.
Red is one of the very rare bands within the Christian rock market where I feel that they put just as much effort into the melodies they write, as they put into their lyrics. Most of the "preachy" bands, I can not get into because they concentrate solely on the worshipping aspect and very rarely touch upon the undeniable fact that there is A LOT of frustration and confusion in not only being a Christian, but being alive in general. Red covers this with true power and skill to where they are appealing to the Christian rock market, along with the mainstream rock market. They mix a Linkin Park-ish rock vibe (back from when LP were still a good rock band at least) in with the orchestras for a symphonic rock sound that I normally had to go to female fronted European bands like Within Temptation or Delain to find. And this album is no exception. UNTIL WE HAVE FACES still manages to build some epic sounding atmosphere to the background of their guitar-driven rock, while toning the anger down a little from their previous two releases.
Overall, the album has helped get me excited for good rock music again after an abysmal 2010. It's the first release since Katatonia's recent masterpiece Night Is the New Day that has made me feel like many repeat replays are in order. And with more future albums coming from Within Temptation, The Panic Division, Cyrenic, A Perfect Circle and others, it looks like 2011 is off to a promising start.
However, after I was able to confirm that (this rare time) the exclusive Itunes track was only an instrumental intro (albeit one that should have stayed as an intro for "Feed The Machine" on the physical release), I went ahead and bought a copy of this new album, and I am glad I did. Despite what many Red fans are saying though, I find this to be Red's softest album to date. Really only "Feed The Machine", "Faceless", "Who We Are" and "The Outside" are what I would consider the 'heavier' type songs. This album has several mid--level rocker tracks and a few power ballads and these songs are the ones that stand out for me. I am a sucker for great melodies and memorable hooks and they definitely deliver. These songs include "Lie To Me (Denial)" which is destined to be a future single, "Let It Burn", "Buried Beneath" (which is another catchy song with a great chorus hook), "Not Alone" and the anthem-like "Who We Are" (although there is some annoying static-like noise in this song). Honestly, there was not one song I wanted to skip though.
With that being said, the song that impressed me the most is the piano/orchestra driven album closer "Hymn For The Missing". The chorus of this song has such a beautiful melody to it that I got chills when I heard it. And then to top it off, there are some subtle (but gorgeous) etheral female vocals harmonizing in the background, which really compliments the orchestra especially as it picks up for the haunting instrumental climax at around the 4:30 mark. Perhaps my only complaint about this soul soothing song is that after the instrumental climax, I would have loved to hear one final chorus with both Michael Barnes and Kellie Roberts (the female vocalist) singing together. But even without this, the song is powerful and easily compares with "Pieces" from their debut release for being their most beautiful song.
Red is one of the very rare bands within the Christian rock market where I feel that they put just as much effort into the melodies they write, as they put into their lyrics. Most of the "preachy" bands, I can not get into because they concentrate solely on the worshipping aspect and very rarely touch upon the undeniable fact that there is A LOT of frustration and confusion in not only being a Christian, but being alive in general. Red covers this with true power and skill to where they are appealing to the Christian rock market, along with the mainstream rock market. They mix a Linkin Park-ish rock vibe (back from when LP were still a good rock band at least) in with the orchestras for a symphonic rock sound that I normally had to go to female fronted European bands like Within Temptation or Delain to find. And this album is no exception. UNTIL WE HAVE FACES still manages to build some epic sounding atmosphere to the background of their guitar-driven rock, while toning the anger down a little from their previous two releases.
Overall, the album has helped get me excited for good rock music again after an abysmal 2010. It's the first release since Katatonia's recent masterpiece Night Is the New Day that has made me feel like many repeat replays are in order. And with more future albums coming from Within Temptation, The Panic Division, Cyrenic, A Perfect Circle and others, it looks like 2011 is off to a promising start.
Most Recent Customer Reviews
5.0 out of 5 stars
great music
Red does it again with some awesome songs. Every one of their albums gets better and better. Keep up the good work! A+
Published 7 days ago by Adam1g
5.0 out of 5 stars
R3D's Third Release Is Awesome!
Red has given us a great album...period.Here's a brief overview of their sound if that's all you read:Hard rockin' guitars,melodic chorus',Beautiful strings and some screaming... Read more
Published 10 days ago by Switch & Duggy
5.0 out of 5 stars
Red Sings From Their Soulds
I wouldn't normally listen to a song with any bit of screaming to it. But their music is so meaningful and lyrics have substance to them. Read more
Published 15 days ago by Lauren
5.0 out of 5 stars
Excellent CD
It is a great cd by Red. I liked the End of Silence better, but Hymn for the Missing is just beautiful.
Published 1 month ago by Lori A. Marion
5.0 out of 5 stars
best album in its time
This is a great album to date and Red continues to impress with there compositions and lyrical messages. Read more
Published 3 months ago by Whittster
5.0 out of 5 stars
Best album by Red
This album is by far their best. It has such a variety of styles yet true to Red's own style. This is by far my favorite band in the Christian Rock genre yet if I had to choose,... Read more
Published 3 months ago by Power
5.0 out of 5 stars
I LOVE RED!!!!
I am so happy that they've chosen to listen to the Lord and put out music like this, that speaks to me!!!
Published 3 months ago by daphzachmom
5.0 out of 5 stars
Awesome CD!!!
It was in perfect condition, save for a small crack in the case, but not a big deal at all!!! Great Service!! Got here earlier than they said it would take.
Published 3 months ago by sw65
5.0 out of 5 stars
Rockin!!
Rockin for the Lord!! Great band and great words that help us think about life and how we see ourselves compared to how God sees us and can re-direct our paths if we let him. Read more
Published 3 months ago by Adam
5.0 out of 5 stars
Great!
This CD can only be described as one of the best on earth! I listen to this CD constantly! Every song is well written and has a story or message behind it which makes it something... Read more
Published 4 months ago by Hard2Please
