Artist: Christian Death
Genre(s):
Metal
Rock
Metal: Industrial
Rock: Gothic
Discography:
Lover of Sin
Year: 2002
Tracks: 10
Scriptures
Year: 2000
Tracks: 14
Pornographic Messiah
Year: 1999
Tracks: 17
Ashes
Year: 1999
Tracks: 7
Rage of Angels
Year: 1994
Tracks: 10
The Path Of Sorrows
Year: 1993
Tracks: 10
Iconologia
Year: 1993
Tracks: 15
Jesus Points The Bone At You
Year: 1991
Tracks: 12
The Iron Mask
Year: 1989
Tracks: 10
All the Love All the Hate part 1
Year: 1989
Tracks: 2
Sex and Drugs and Jesus Christ
Year: 1988
Tracks: 8
Atrocities
Year: 1986
Tracks: 10
Deathwish
Year: 1984
Tracks: 6
Catastrophe Ballet With Rhapsody Of Youth and Rain
Year: 1984
Tracks: 13
A Catastrophe Ballet
Year: 1984
Tracks: 13
Only The Theatre Of Pain
Year: 1982
Tracks: 16
The Best Of Mine
Year:
Tracks: 66
Church Of No Return
Year:
Tracks: 1
The creation fathers of American boor stone, Christian Death took a unrelentingly confrontational standstill against unionised faith and conventional morality, with an appetency for provocation that made Marilyn Manson look like Stryper. Regardless of wHO was in the lead or acting in the mathematical group, Christian Death set themselves up to shock, both in their cover artistry and their lyrics, which wallowed in blasphemy, morbidity, do drugs employment, and sexual perversity. Their self-consciously controversial tactic lay them apart from the British boor scene, having more to do with L.A. spunk and leaden alloy, and so the band dubbed its sound "expiry rock" instead; however, their aesthesia was in the end similar sufficiency that the "goth" assignment stuck in the remnant. Their music also relied on slow, doomy, effects-laden guitar riffs and ambient horror-soundtrack synths, and their theatrical performances were strongly influenced by British glam bikers like David Bowie and Roxy Music, as well as industrial provocateurs Throbbing Gristle. The latter was especially dependable of the band's low incarnation, light-emitting diode by vocalist and founder Rozz Williams, wHO masterminded a great deal of what many critics conceive their best act upon. When Williams left hand in 1985, guitar player Valor Kand took o'er leadership and sent the mathematical group in a more cerebral, political, and metal-oriented way. A subsequent contravention over ownership of the Christian Death name lED to a bitter feud between the two, non to reference competing versions of the group, leading many of their fans to take sides. The unpersuaded tended to sack Christian Death no matter wHO was involved; critics often found their poesy flamboyant and overwrought, their national affair self-important, and their electrical shock tactics ham-fisted. Nevertheless, Christian Death had an tremendous influence on the American boor scene, formation the sensibility of innumerable churl, metal, and regular industrial acts that followed. Sadly, the Kand-Williams difference concluded in tragedy in 1998, when a heroin-addicted Williams took his possess living.Rozz Williams (born Roger Alan Painter, November 6, 1963) founded Christian Death in Los Angeles in 1979, having grownup up in the eastern suburbia of Pomona in a Christian family. Originally, the 16-year-old Williams called his group the Upsetters, which also included guitar player Jay, bassist James McGearty, and drummer George Belanger. The band didn't actually direct off until it changed its bring up to Christian Death (reportedly inspired by a goofball on clothes designer Christian Dior's name) and added sometime Adolescents guitarist Rikk Agnew. In 1981, they made their recorded debut with several tracks on the L.A. scenery compilation Pit Comes to Your House, which also featured the more than facetiously destruction rock compatriots .45 Grave. Hooking up with Frontier Records, Christian Death issued their debut album, the barbarian landmark Only Theatre of Pain, in 1982. Featuring writing style touchstones like "Romeo's Distress" and "Spiritual Cramp," the phonograph record likewise included node vocals from Superheroines drawing card Eva O. (natural Eva Oritz), world Health Organization would become Williams' wife and semiregular quisling in 1987.Having already booked a European enlistment, the original lineup of Christian Death splintered amid infighting and drug abuse. Williams cursorily assembled a new version of the band in 1983 by meeting with their scheduled opening work, some other L.A. death rock band called Pompeii 99, and finally settled on retaining the more than evocative Christian Death name. Australian-born guitarist Valor Kand, keyboardist/vocalist Gitane Demone, and drummer David Glass coupled with Williams to produce the best-known Christian Death lineup (bassist Constance Smith was also onboard, only was shortly replaced on the enlistment by the Sex Gang Children's Dave Roberts). While oversea, the chemical group recorded the irregular Christian Death album, Catastrophe Ballet, another much-revered goth john Rock criminal record that appeared on the French label L'Invitation au Suicide in 1984. Returning to the U.S., the band formed its possess label, Nostradamus, and the Valor/Rozz lineup issued its second record album in concert, Ashes, in 1985, erstwhile once more to an enthusiastic reception from barbarian fans. A lively album, The Decomposition of Violets, was culled from the load-bearing tour (with second guitarist Barry Galvin straightaway in tow) and released by ROIR.By this prison term, Christian Death were draft predictable flak from religious groups in the U.S. all over their lyrics, graphics, and concert performances, and were finding it easier to mount tours for their growing European fan floor. In mid-1985, Rozz Williams left the stria he'd founded, part imputable to his increasing interest in experimental music and surrealist execution fine art. Valor Kand took all over leadership of Christian Death, straightaway service of process as jumper lead vocalizer and songster. Reportedly, Kand and Williams had agreed to rename the existing band Sin and Sacrifice; however, on the ensuing tour of Italy, fans fictitious they were still watching Christian Death. Defrauded and left in straitened circumstances by the tour showman, the band recorded a warm EP for the Italian label Supporti Fonografici called The Wind Kissed Pictures, which was credited to The Sin and Sacrifice of Christian Death in order for fans to know whom they were purchasing. The band raised sufficiency money to return to England, which they made their permanent base; meanwhile, The Wind Kissed Pictures was issued in the English-speaking world under the Christian Death name, as once once again few people comprehended the change. Williams, meanwhile, all just dropped knocked out of visual sense for several years, finally resurfacing in side ventures like Premature Ejaculation, Heltir, and Shadow Project (the latter with his wife Eva O.).Now settled in England, Christian Death added bassist Johann Schumann and returned to the Welsh studio where they'd cut Cataclysm Ballet. Their number one post-Williams effort was 1986's Atrocities, a conception album about the aftereffects of World War II on the European head. Their next plan was Deliverer Christ Proudly Presents Christian Death, a box set of concert EPs from 1986 and early 1987. The proper follow-up to Atrocities was even more conceptually challenging; 1987's The Scriptures was Kand's musical treatise on comparative faith, and surrounded him with a revamped lineup of Demone, Glass, guitar player James Beam, and bassist Kota. The Scriptures pronounced the origin of Christian Death's evolution into a mouthpiece for Kand's one-person movement against political corruption and organized faith (the Catholic Church in peculiar). His line drive notes explained his complicate rational concepts in painstaking detail, and he progressively used interviews as a platform to launch corrosive attacks on his front-runner targets.Longtime drummer David Glass left wing the group following the tone ending of The Scriptures, and returned to California, where he eventually worked with several of Rozz Williams' side projects. That whittled Christian Death down to a quartette for the 1988 single "Church of No Return," one of their more accessible efforts. Despite the group's more than rational bent, they weren't higher up resorting to the calculated odiousness of old; the insure of their 1988 LP Sex activity and Drugs and Jesus Christ pictured Jesus shot heroin. The ensuing cult helped make the album the group's biggest seller; it too saw them evolving into a more basic, straightforward goth metal band. In 1989, with new second gear guitar player Nick the Bastard onboard, the grouping issued the concert document The Heretics Alive. Gitane Demone later leftfield the band, non to mention her longtime buff Valor Kand, citing dissatisfaction with his new direction; she resettled to Amsterdam and chased a jazz vocalizing life history.With Demone's leaving, the always-unstable Christian Death card splintered altogether, going Kand fundamentally a solo auteur despite continued instrumental assist from Nick the Bastard. In 1989, Kand realised another far-reaching conception opus, All the Love All the Hate, which was released in deuce break full-length LP installments that covered "love" and "hatred" themes severally. The latter featured unitary of the band's more infamous latter-day cuts in "I Hate You," a blue philippic by Valor and Demone's five-year-old son Sevan Kand; its nontextual matter too utilised Nazi mental imagery to a somewhat unclear end. Nick the Bastard later bypast, and lovelorn of whatever accompaniment, Kand turned his attention to archival real; 1990 proverb the button of the demos/outtakes digest Insanus, Ultio, Proditio, Misericordiaque, and 1992 brought the Valor Kand-era singles retrospective Deliverer Points the Bone at You?.Meanwhile, a impecunious Rozz Williams had resurrected his have version of Christian Death during the late '80s, with his wife Eva O. contributing guitar as well as the band's signature female vocals. Billing themselves as the original Christian Death, they were rejoined by first-album guitar player Rikk Agnew for a 1989 circuit of Canada. Despite the dubious legality of Williams' use of the Christian Death key, his efforts attracted the interest of the goth-oriented Cleopatra Records label. In 1992, with Valor's version of the isthmus in recording hibernation, Williams issued The Iron Mask as Christian Death, its claim a pointed computer address to the Alexandre Dumas novel about a supplanter wHO imprisons the rightful heir to the can. He and Eva O. were linked by bassist Listo and drummer David Melford, and most of the repertoire dated from Williams' number 1 deuce-ace albums with the original striation. The similarly conceived Skeleton Kiss EP appeared on its heels. An all-new studio apartment endeavor, The Path of Sorrows, followed in 1993, with a new lineup behind Williams and O.: keyboardist Paris, multi-instrumentalist William Faith, and drummer Stevyn Grey. In June that class, Williams re-formed most of the early Christian Death lineup -- bringing back Rikk Agnew (once over again) and George Belanger, with reenforcement from guitar player Frank Agnew and bassist Casey Chaos -- for a one-off show in Los Angeles. The resultant role was released in 1994 by Triple X as the live record album Iconologia.Williams' reclamation of the Christian Death name sparked a savage court conflict with Valor Kand, world Health Organization eventually won trademark rights and forced Williams to bill his version of the band as "Christian Death Featuring Rozz Williams." In share to keep his rival from stealing his thunder, Kand assembled a new Christian Death of his possess, centered around himself and fresh wife Maitri on bass and vocals. He returned with 1994's Sexy Death God, which many longtime fans greeted as his best and tightest drive in quite some time. Confusingly, Williams' Christian Death besides issued a new album that year, The Rage of Angels, which establish its leader dabbling in spoken son at multiplication. A unfluctuating stream of archival reissues -- live real, outtakes, remixes, etc. -- from throughout the band's history besides began to come along on Cleopatra.Adding guitarist Flick and drummer Steve Wright, Valor's Christian Death picked up their recording pace, offering the double hot correct Amun in 1995, and reverting to the challenging concept workings of old with 1996's Nostradamus-themed Prophecies. As it turned proscribed, Williams' version would non spill some other full album of original material. He pursued various other projects, including a duet album with Gitane Demone (1995's Dream Home Heartache) and a spoken word examination of his diacetylmorphine addiction (1996's The Whorse's Mouth). That addiction would aid title his life history on April 1, 1998, when the 34-year-old Williams hanged himself in his West Hollywood apartment. He was mourned by a still-devoted cult of fans, and regular Valor Kand put apart his old animosity to dedicate that year's Adult Messiah album to Williams, departure so far as to disembowel from some of Williams' more observational influences.Kand's Christian Death soldiered on, issuance the two-disc singles/outtakes digest The Bible in 1999. In 2000, they added drummer Will "Was" Sarginson (ex-Cradle of Filth and Blood Divine) and toured Europe aboard Britain's Cradle of Filth, one of the more than popular inglorious alloy bands of their time. The deuce groups got along well sufficiency for several Cradle members to guest on Christian Death's 2001 album Born Again Anti Christian, serving it get matchless of the well-nigh metallic records in their catalogue. The following yr, bassist Maitri issued the ignominious metal-influenced solo album Lover of Sin (bewilderingly tagged on the spread over as "Christian Death Presents..."). In 2003, Cradle of Filth guitarist Gian Pyres formally united Christian Death for their European go.
