Review Summary: Despite their affinity for lyrical grotesqueries, Vendetta Red have crafted a twisted work of genius in “Sisters of the Red Death” that would make Edgar Allen Poe proud.
“Sisters of the Red Death” is apparently a concept album of some kind. What exactly this concept may be is far from clear. It somehow involves a half-medusa half-harpy named Gloria, nuclear holocaust, myriad mythological creatures, necrophilia, and copious amounts of violence and gore. This should whet anyone’s appetite for all things bizarre and macabre, but let it be known that depth of depravity found here may have no bottom. Right out of the gates some listeners may find themselves uncomfortable, or even queasy. Take this lyric from self-referential album opener “Vendetta Red Cried Rape On Their Date With Destiny”:
Tied with barbed wire and guitar string
to a junkie’s soiled box spring.
You were thankful
For the gym socks stuffed in you mouth.
‘Cause the blood soaked through the tissue
when your teeth broke when he hit you.
You denied him the pleasure he gets when you scream.
Even the most desensitized metal-head should raise an eyebrow or two while listening to such graphic passages. This will appeal to some while repulsing others, but “Sisters” offers far more than lyrical shock value.
Vendetta Red are best described as an alternative rock band, although an album title such as “Sisters of the Red Death” may suggest something heavier. Some have tagged VD as screamo, but this seems to be a misnomer as there are very few screams. Those present are tastefully done, and used to bring songs such as “The Body and the Blood” and “The Great Castration” to fever pitch. It should also be apparent that the lyrical subjects in no way resemble those generally associated with the genre. The instrumentation featured here is fairly traditional alt-rock fodder; rocky power chords dominate insanely catchy choruses while the rhythm section does their best to make things interesting without deviating too far from the basic song structures. Solos are not a big part of VD’s sound, but the leads are exceptionally well done and almost make up for this. While the musicianship is adequate, it is certainly not what makes this such a special album.
Vendetta Red have some eccentricities which vault their music to uncommon heights. Some are more easily defined than others. Perhaps most noticeable is the wonderfully distinctive vocals. These range from hushed coos to frenzied screams, and ooze emotion at every turn. Also impressive is the manner in which a dual-guitar attack is utilized to create a palpable sense of foreboding. This is pulled off with rare aplomb, and is much a character in this narrative as any banshee, harpy, or bloody corpse. It’s hard to pin down exactly what makes this such a spellbinding release, but part of the magic must lie in the juxtaposition of truly sinister (even morbid) lyrics being delivered in such lovely, ornate arrangements. Perhaps it’s the way that the record begs to be listened to in its entirety, and feels like a cinematic experience. In any case the album is one hell of a thrill-ride. Its assault on the senses simply does not relent. Examine this spoken-word passage from “A Joyless Euphoria” as it the last burst of brutality on SOTRD:
“Can you hear me?
There’s something I’ve been wanting to tell you.
When you were laying face down
in a pool of blood and broken glass,
you never looked so beautiful.
So who’s the big man now, mother***er?
The one missing his arms and legs?
Well I wanna lick those bloody stumps,
and cum candy in your mouth until you cry.”
Despite their affinity for lyrical grotesqueries, Vendetta Red have crafted a twisted work of genius in “Sisters of the Red Death” that would make Edgar Allen Poe proud.
