Christian Death
Catastrophe Ballet

THE REVIEW

In the history of dark-punk, of gothic rock, the English are remembered as the best interpreters of the genre. Indeed, bands like Sisters Of Mercy, Bauhaus, Joy Division, Siouxie And Banshees, have written important pages of this style, which was very popular in the early 80s. But across the Atlantic, there was a band formed in '82 that represented, for a couple of years, an authentic nightmare for the staunchest believers in America. The poses of their leader, Rozz Williams, who committed suicide a few years ago, clearly indicated a heretical and blasphemous attitude. He sometimes appeared on stage dressed as a bride or hanging on a cross, simulating the sacrament of communion. At this point, you would expect his music to be torn by demonic screams like Marilyn Manson, scarred by powerful heavy metal riffs, and industrial rhythms. No, nothing of the sort. "Catastrophe Ballet", the second LP and probably the pinnacle of "Christian Death" (after the historic debut "Only Theatre Of Pain", played with a different line-up), is a concentrate of subliminal violence, latent pain, a very subtle death ritual, not screamed, but finely psychological. Its ceremonial is not vulgar, or spectacular; quite the opposite. It is elegant, whispered in a monotone and catacombal tone, over carpets of lugubrious organ and dreamlike guitars. The rhythms, now nerve-wracking chimes, now martial pulses of sick punk, create a climate of notable tension, anguishing and claustrophobic.

The means used by Williams was much more intelligent than many clones that emerged following the dark boom, and it demonstrated a markedly superior musical sensitivity. Ultimately, a record that has nothing to envy the more well-known manifestos of the genre, but rather stands out for its originality and creativity. Beautiful in all its parts, it is more "cult" than its "rivals", but deserving of equal, if not greater admiration.