Christian Death
Insanus, Ultio, Proditio, Misericordiaque

"Everyone Hates Valor Kand" Act III

Our microcosmic journey continues in the rediscovery/criticism of one of the most talked about, hated, vilified, and fascinating characters (please allow me the courtesy of describing him with this adjective as well) in the gothic rock scene: Valor Kand.

Leaving aside the most autobiographical part, already covered in the previous acts with the reviews of "Past, present..." and "Pornographic Messiah," today's review examines the only work that, in my opinion, managed to emerge from that decade of failures and mediocrity between 1986 and 1996 (that is, between the albums "The Scriptures," mysteriously dichotomic between a fantastic side A and a dazzling side B, and "Prophecies," a dissolute example of a mishap of interesting ideas, carelessly elaborated to become a rotten mess devoid of meaning).

"Insanus, ultio, proditio, misericordiaque" was released in 1990 by our own Nostradamus Record and is the last work where one can enjoy the participation of the lineup best embodying the controversial spirit of Christian Death: besides the good Valor Kand on guitars and vocals, we find the excellent David Glass on drums, Gitane Demone on female vocals, and none other than the charismatic and dark Rozz Williams, who does not limit his presence to a mere cameo to revive past glories but gives a wise sample of his composing artistry on tracks like "Infans vexatio" and "Venenum" (which happen to be the most engaging and complete songs). Completing the formation, we also find the little-known Kota on bass.

Now, as often happened in the "Kand" era, do not expect a consistency of solutions and performance in the individual episodes that compose the album: the sensation one has upon first listening is the usual astonishment (excuse the contradiction in terms) for the great ability to create sincerely unsettling, malevolent, dreamy, and profound atmospheres, contrasted with a total inability to maintain a common thread among all the present tracks.

Thus, one moves from lacerating and romantic goth songs like the wonderful (also thanks to its hypnotic repetitiveness) "Somnium" to orchestral/operatic pieces like the opener "Sevan - Us Rex," performed by the Commonwealth Chamber Orchestra, conducted by our Valor (the final result strongly recalls the atmospheres of the charade of "Eyes Wide Shut" by the master Stanley Kubrick), through chilling and deadly tracks worthy of a Mephistophelean doom metal band, such as "Mors - Voluntaria."

This very strange album, which in truth is a compilation of unreleased tracks, also includes the last song written for Valor Kand's Christian Death by the surreal mind of the late Rozz Williams: we are talking about the already mentioned "Infans Vexatio," where the voice of the historic singer masterfully sketches dark and dadaistic atmospheres on a malevolent and luciferous blues base, enriched by frightening and truly remarkable horror samples.

Also noteworthy is the three-part singing (Valor, Gitane, and Rozz) of the sixties oriented "Venenum", with the wonderful central chorus really hitting the mark on a guitar riff that masterfully highlights the melodic opening on which it is based.

A credit is also due for the lyrics, finally deep and ethereal, always aiming to show the most introspective side of emotional states, such as depression, the memory of a dream where waking and sleeping seem to be unrecognizable, the desire to overcome the obstacles life proposes etc., all treated with great poetic flair.

Regarding the more technical side, the recording is good, although you should absolutely not expect anything polished or instrumentally complex: rather, try to imagine a bat cave sound and add constant insertions of strings, cinematic samples, and gothic atmospheres so decadent they are unbelievable, and you will have more or less the idea of how this "Insanus, ultio, proditio, misericordiaque" might sound.

Ultimately, a work appreciated only by minds open to experimentation, not easily digestible, but absolutely sincere and enjoyable in its chameleonic and anomalous nature.