A feminist revolution of apocalyptic proportions may seem like a novel hidden deep in a library somewhere, but to rising Seattle group Vendetta Red, this concept became opportunity.

            An Epic saga based on an 18^th century Japanese cult and the silently radical imagination of frontman Zach Davidson, the group’s new Sisters of the Red Death album is an innovative perspective of its namesake notion. Infusing explicit passion with its own devastatingly sensuous soundtrack, the release boasts a range of musical styles while managing to keep the central theme close at heart.

            The opening track commences the tale by depicting Gloria, our protagonist’s, torture. Combining potent lyrics with colorfully violent scenes, it most certainly instigates Gloria’s disdain for the Y chromosome and its societal authority.

            “The Body and the Blood” becomes a transitional number depicting a victim’s rapture under a hypnotic spell. Said victim utters, “Murder me, marry me…” as through he is under Gloria’s eternal mercy (of which she has none.)

            Featured guitars, performed by Erik Chapman [now replaced by Leif Andersen] and Justin Cronk, are reminiscent of Vendetta Red’s “Cut Your Noose”-era “Lucid, Languid,” and the wall of sound calms just in time to welcome the next track with placid reflection.

            The third tune is told from narrator to listener directly as a confidant—“If I tell you, would you promise to keep it secret?” More harsh abuse is dramatized that fuels the passionate fire of Gloria and her feminist ranks.

            “Shiver,” the fourth track gracing the disc, captures the haunting quality only Vendetta Red possesses that will keep one’s iPod on repeat for eternity—if one makes it that far. It showcases Gloria’s sweet revenge on male humanity; her extreme charades as described by the narrator keeps present and prospective victims quaking in their conservative boots. Her trap is revealed; her beauty is her enemies’ weakness, and her bloodlust emerges as the victor.

            We drift through “In Lieu of Dead Brides…” with its incredible drums orchestrated by Burke Thomas and funhouse oom-pah-pah beat. Unfortunately the vocals, though bone-chilling in the beginning, never really climax to the anticipated, truly spooky effect.

            Crowd-pleasing and radio friendly, “Silhouette Serenade” is the next and feature track on the album. The music video, shown often on MTV2 and other esteemed music channels, includes a cameo from S.T.U.N.’s Christiane J. and gives an outline of the album’s theme, with a love story gone awry and Gloria’s Medusa Madonna identity coming to life.

            “The Banshee Ballet” is a further anecdon’t of Gloria’s deeds; she lures a victim with great promise and continues by slowly murdering the unexpecting fool.

            The following two tracks complement each other; the former attempts to paint a portrait of Gloria’s wrath and inner workings, while the latter depicts her physical appearance. Although radio-friendly much like “Silhouette Serenade,” the compositionas are ultimately mellow—disappointing for a band that has carved its niche in visceral mania.

            “Run,” a composition similar in nature to the “Lipstick Tourniquets” of Vendetta Red yesteryear, leads the listener to “Coital Improv.” It’s a tranquil track that holds a certain “lull before the punctuating mushroom cloud” quality.

            The song affords much depth to the story; Gloria and her “daughters” are running from the American government who are making futile attempts to destroy the revolution at hand. Davidson’s songwriting even poses a dig at today’s society with the line “…the American mask of a terrorist clown…”

            The track’s subdued choral vocals are a poignant, effective touch and provide desired dimension. The overall music isn’t too detailed, but its cool collection could put one to sleep in the best way possible—contemplating society in general with a smile on one’s face.

            And Alas! We finally reach “A Joyless Euphoria,” the epitome of what many have deemed “panic rock.” By now Davidson is courageously hanging from a ceiling beam of diving headfirst into the mesmerized crowd.

            The narrator again tells the tale from his own experience, as he himself has been royally injured by Gloria and forced to realize his masculine flaws through her mortifying “time of redemption.”

            This final track, the lasting image of Gloria’s struggle and apex of her revolution, doesn’t cleanly cauterize the parable but seems to serve as a segue to Gloria’s domineering infinity.

             Conclusively, Sisters of the Red Death is a demiurgic, stimulating sophomore major label release for the quintet. Although this general creative change may hold the band’s “indie” reputation for quite awhile, the originality captures genuine, complex emotion that is not easily expressed in words.

            The sheer, raw bluntness may appear extreme to some, but the graphic portrait produced in one’s imagination can only be described as a true work of art.

To all my fellow citizens, beware:

Look out for the girl with the snakes for her hair.

And do not fear Gloria, don’t shiver and quake,