“I love electricity.” —John Lee Hooker

his was the first time I’d seen Vendetta Red in action, but I had the opportunity to spend some time with the band back in Seattle where I met, in particular, Red guitarist Justin Cronk. Steering away from the more innocent “mod” or “mop-top” look he—and maybe the whole band—seemed to be sporting two years ago, the band came on Monday, Nov. 10, dressed down, a bit more grunge and definitely rehearsed.

	Vendetta Red played its brand of music that isn't quite emo at Albee Square last week.

Following a snub and bump from Club DV8, its scheduled venue, Vendetta Red, forced to take its electric Seattle punk sound around the corner and behind the well-heralded Blue Boutique, played a low-lit Albee Square. There, the band ripped a family night session of explosive percussion, hard rhythm, introspective lyrics and bleeding vocals under a red glow.

The thing that blows my mind about Vendetta Red is its incredible metronomical timing, led mostly by drummer Joseph Childress. Reminiscent of an early Dave Grohl during his days as drummer for Vendetta Red’s grandfather, Nirvana, Childress hits hard and loud, using an energy that often leaves him gasping and wheezing at the end of a song.

Taking the stage around 9:30 p.m., the swaggering band launched into “Lipstick,” off itsthird album, Between the Never and the Now. Screaming to a crowd of maybe 100 somewhat docile patrons, frontman Zach Davidson helped bless the club with his contagious energy and dynamic voice. By the time the band had played its fourth song of the night, “Accidental Sex” (off ofsophomore album White Knuckled Substance), most of the crowd members were banging their heads or (God forbid) “slam dancing” or “moshing.”

Nothing got too out of hand, however, as Davidson would, now and again, bow into the first row of mesmerized fans, who lent their physical support against his body to keep him prostrate.

There seemed to be, at least, an honest connection between Davidson’s potent lyrics and the crowd’s understanding of them, which for the demographic is something to be applauded.

The band is also to be commemorated, for putting in the effort that most products available today lack. Its professionalism is almost an oxymoron considering the band’s rebellious attitude, which Davidson has described in the past as youthful and angry, all “in the name of art” (Crud Magazine, Jan 1, 2003).

The band boasts an incredible wisdom for dynamics and style. This is notyour typical punk band playing the same hard rhythm or regurgitated mediocre guitar melodies over and over again while a “singer” screams into a microphone unintelligible “noise” for simple dramatic effect. Every song is, in and of itself, original, thought-out and mastered, which proved to be the case even in a live setting.

More amplified and raw, Vendetta Red’s energy and intensityis anything but overwhelming. It is ratherinvolved and draws listeners in with a romantic dynamic similar to the intensity of Tchaikovsky.

Watching thelive performanceshowed me that Vendetta Red is much too talented to share the branding of emo, which Dashboard Confessional has helped popularize as of late. The tattooed arms of guitarist and keyboarder Michael Vermillion have helped create some incredibly melodic and polyphonic sounds that put the band a step or two or three above its contemporaries.

The band members are extremely committed to touring (a sign of bona fide musicians) so catch them again the next time they roll through town. In the meantime, pick up a copy of their well-crafted studio albums and crank it up. I've been listening to White Knuckled Substance all weekend and it’s only encouraged my sense of rage.

Was it worth $10? If this band doesn’t get you off your ass, I don’t know what will.
staff@red-mag.com