Rhetoric Vendetta ‘Call of the Void’
Hardcore, fierce-paced, hard-edged, Call Of The Void delivers some old fashioned, no bullshit punk rock, charged with black-and-white retro coolness. The record introduce listeners to the three-piece punk band Rhetoric Vendetta and their documentary-esque sonics and alternative romanticism.
Hardcore drumming vibes with buzzing drones. Pouring down some straight-to-the-point melodic hooks. Their careless snarls give out an aesthetic underground punk experience. For anyone who loves that carelessly arrogant, innocent and disillusioned aesthetic, Rhetoric Vendetta is the band for you. Bounded by their passion for the genre, the punk aesthetic is simply at heart of their songs. From there, they can go however further they wish to go, and punk rock would always be a part of the deal.
Call Of The Void evokes an eclectic, broad sonic palette. Rhetoric Vendetta is certainly not afraid to stretch beyond the limitation and widen their horizon. The filmic opening, for example, transforms an authentic punk rock experience into a cinematic one. Through that perspective, the fiercely aligned sonic elements create a vivid visual imagery. Military, machine gun powered soundscapes filtered through documentary lens.
Although the lyrics and sound often reflect on the dissonance and chaos of the world, they combine surreality and romanticism in their approach and articulation. Like an impressionist with an expressionist’s heart. As a punk band, politics and commentary are part of the deal. Although most punk songs tend to age poorly, Rhetoric Vendetta’s lyrics don’t lack sophistication and complexity in their own blast of catharsis.
The lyrics of “Outcast” reads like punk poetry. Raw, bloody, immediate, but also artistic and sensitive. The storytelling of the tune creates a parallel between the analogy of a drowning person and the experience of no turning back. It’s romantic and poetic, at the same time, chaotic and straight from the heart.
Tunes like “Fallen” and “Before I Cave” paints a high contrast of sonic “optimism” and lyrical “depression.” “Before I Cave” also includes a brief ska in its bright, euphoric sonic impression. This combination certain evokes a certain bizarre and surreal feeling. On the other hand, it’s also very surprising to hear their treatment of musical elements.
“Everything is Nothing” is a stripped-down, sunset-sunrise sort of acoustic punk. For some reason, the last of the album hits harder than all others. Perhaps the intimate setting suddenly unveils more emotions. An immediate heightened close-up between audience and band.
