Raised Emotionally Dead

When we say that the sounds you hear on Memo are nothing you have not really heard before do not take this as a slight or criticism as the debut from Canadian hard rockers Raised Emotionally Dead is one of the most enjoyable releases to come along this year. It is pure metallic rioting, with songs and music to turn any occasion or hour into an adrenaline soaked, sonically sculpted thrilling storm. There is also a distinctive breath and tone to the album which does go against our opening line but simply if you are already seduced by the sounds of say early Marilyn Mansion, Murderdolls, Rob Zombie, and Dope you are going to have a ball with this Toronto quintet.
Raised Emotionally Dead was born from the earlier project of vocalist Jezla and guitarist ZeeDee called The Hellz Kitchen Show. 2011 saw the pair build their own recording studio and start Red Channel Records as they sought to discover and perfect their own unique sound. Now you could happily argue that uniqueness is one of the less immediate attributes of Memo but to be fair it is hard to think of anyone who presents the familiarity in the same breath-taking way that these gentlemen do. With a line-up completed by ex-Zeroscape guitarist Specializt, ex- Papa’s Delicate Condition bassist Nibz, and drummer Naz, the band has opened for the likes of Marilyn Manson, L.A.Guns, John Corabi, Vince Neil, Gilby Clark, The Birthday Massacre, DOPE, Faster Pussycat, Dog Fashion Disco, Trash Light Vision, Carnival Diablo, Nash the Slash and many more. Memo is the next major step and one with luck which will open them up to the hunger of the metal/rock world.
The release opens with one of the most contagious songs heard in a long time. Channel Radio stomps all over the senses the moment it leaps from the initial sample, drums thumping with antagonistic provocation whilst the guitars eagerly grind through the ear with compelling riffs and vigorously seductive grooves. With the throaty bass adding its devilry to the mix and the vocals of Jezla scowling over it all like an expressive tempest, the track takes mere seconds to tempt thoughts and passions into joining its bruising cause. Every second and atom of the song is pure contagion, a wicked device to have the limbs, voice, and energy of its recipients expelling their enthused participation. Ok it has that call of recognition to it but the likes of Dope, Mansion, and Wednesday 13, whom the song reminds most of, have not had this effect and persuasiveness about them in a long time, if at all for some.
The outstanding start is soon complemented by the equally hungry and tempting sounds of Shed It, guitars carving up the air with muscle clad riffs alongside an infectious rhythmic menace. The hard rock voice of the song is a clear call which suggest elements of G ‘N’ R whilst vocally again that confrontational squalling tone of Jezla assisted by great group calls, rides the torrent of aggressive energy like a sinewy surfer, syllables and words caught in the appealing wake. As the song and its successor Selfish Inc. rampage with varied intent and enterprise it is hard not to be wrapped up in the fun and energy of it all, whilst that openness of resources just makes it easier to engage and participate with the lure of each track.
Whilst the previous two songs slip slightly below the immense opener both Resistance and Code Red have little trouble in staking their claim for top honours on the release. The first of the pair has a slight industrial lilt to its enticement which makes for a NIN/Pitchshifter like incitement with an extra unintended nod to Italian band Houston! which only adds to the imaginative craft and adventure of the song. The track also continues to push the diversity within the album beneath that surface recognition, something the second of the two equally reinforces with creative ease. There is a feel of Gruntruck at times here as the guitars shape the body of the song and rhythms cast their cage over the senses to appease further the greedy appetite slavering now over every song.
The underlying mystique of Faceless makes an enthralling temptress next, even if the song falls short of the pinnacles set, whilst the likes of Out Of Control with its Jane’s Addiction like groove and the slow burning Messenger captivate with a virulent toxin that leaves nothing less than rich satisfaction.
Closing on the fiery and reflective Applaud, a song which arguably is the weakest on the album yet still enlists full union with its badgering rock sounds, Memo is an album that leaves you exhausted but enriched in pleasure. Yes the band probably need to explore for a distinct voice ahead but right now they have delivered one undeniable treat. - Posted by RingMaster on July 24, 2013

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".

MARKUS GANZHERRLICH - September 20th, 2013 - MARKUS GANZHERRLICH - September 20th, 2013

"Torontos, Raised Emotionally Dead (R.E.D) is a politically conscious band, heavy and alternative, with messages right out of nineties grunge. The darkness with societal commentary suits powerful frontman Jezla Killz. Though the tone is serious, the mood is fun, and Jezla expresses this with his red tie, matching red shorts, and quirky stage antics. His tongue, during various points of the night, wound up on one side of his mouth, while his facial expression remained intent. Killz, like everey member of this band, clearly has a great time performing. R.E.D commands audience participation with call and response banter and a punkish down to earth stage presence. Speshalizt is tremendously talented and a blast to watch. What he gave in energy, stage show, and guitar playing, he got back tenfold. The audience loved it!! He looked so Leprechaun like, literally there to make us smile. He head banged constantly, smiling the entire set. Last song festa da Puta Tess & Karm Naughty dancing Nurses"
- Deeanna Danger, Vandalaconcepts (May 02, 2012)
- Deeanna Danger, Vandalaconcepts (May 02, 2012)

Yesterday, the pumping tunes of the 23rd Jack Daniel's Get Sh*t Faced Tour flooded the streets of Queen Street East. Raised Emotionally Dead (RED) definitely brought the metal and party attitude for this four band rock night.

The RED concert was odd and truly care-free – perfect mood for a hard rock Saturday night party. At the beginning of the show, a fairly drunk and very gray-haired gentlemen decided to join the band, stepping on stage playing his rose decorated recorder flute (see the slide-show below). However, his weak flute tunes were no match for RED's pumping metal/punk/hard rock guitar riffs.

The care-free mood was set through several bold conversations between RED vocalist Jezla and the audience. E.g. a lady yelled ”Can we smoke?” and Jezla replied ”you can do whatever you want! Just don't tell anyone about it,” which was followed by a loud cheer from the audience.

RED Naughty Nurses

However, the feedback from the audience grew to another level once Jezla invited his RED Naughty Nurses, Tess Wicked and Karm Melina, on stage (see the slide-show below). With two bottles of Jägermeister, these two ladies lured everyone at the Blue Moon Pub to join the party in front of the stage. People were even drawn to the stage from the very back-end of the concert hall, to get a shot of Jäger – or five.

Once the booze kicked in the younger female section of the audience started dancing and literally everyone were smiling, obviously having a good time.

Yes, Raised Emotionally Dead and their Naughty Nurses are a definite party starter. So, make sure to catch them somewhere in Toronto after the release of their upcoming album ”Memo,”



- Heino Dosing Examiner