Christian Death
Sex & Drugs & Jesus Christ

Anno Domini 1988: Christian Death, or rather, what remains of them, release this album. Among the prominent names of the post-Rozz line-up, in addition to Valor and Gitane Demone, we also find Kota and Webz. Despite this work being censored everywhere, it will become the most sold and well-known record among the productions of our "favorite antagonists".

On the front line, as always, is a fierce and sharp attack on Christianity as an organized religion and on the Church. The album was censored everywhere mainly because of the "incisive" front cover: front and center is the Son of God injecting himself with heroin directly into his vein, eyes turned upwards. We can well imagine how much the artwork of this record was opposed and labeled as blasphemous, still considered one of the greatest heresies our artists have ever conceived.

The deep provocativeness of the Sex & Drugs & Jesus Christ front cover has even eclipsed the equally provocative cover of Pornographic Messiah, the one with Jesus engaged in a plastic sexual pose from behind. As if that weren't enough, within the booklet, on the CD, and in the CD box, are the same shots that appeared on the 12’’ version, published by the English Jungle, of the What’s The Verdict vinyl. In fact, in the Sex & Drugs & Jesus Christ booklet, on the page where the lyrics for "Incendiary Lover" appear, we find a close-up of Valor's penis, overlaid with an image of Christ in a white robe.

This album does not shine too much for creativity, but the artwork is absolutely brilliant and spot on. I believe the most appropriate definition is DIVINE. Undoubtedly, this record has evoked the expected reactions and disagreements, which have ensured that this work was talked about everywhere and, apparently, everyone (or at least many) purchased it. It was probably a self-fulfilling prophecy, but it must also be admitted that Valor proved to be quite shrewd and skillful.

The album opens with "This Is Heresy," a track that the more I listen to, the less I like. In my opinion, it is rather raw, banal, and inconsistent. It continues with "Jesus Where’s The Sugar," sung by the brilliant Gitane Demone, who gives us a track with colors of rare beauty. We then move on to "Wretched Mankind," a track whose intro offers oriental atmospheres, but then reveals itself as nothing particularly noteworthy. Conversely, "Tragedy" is a highly successful and apt piece: it still leaves us with a glimmer of hope regarding Valor’s creative flashes.

We are introduced to "Erection" by a rather peculiar intro, composed of moans (obviously the reference is sexual) supported by a carpet of fitting guitar riffs, which then become increasingly abrasive and rock, as Gitane's voice begins to make its way. This song will also be included in Gitane's 1999 album Life In Death ‘85-‘89. "Ten Thousand Hundred Times," despite its repetitiveness, is also a compelling track, and Valor’s off-key high notes halfway through the song are absolute chills!.

"Incendiary Lover" is another track, masterful and of fine quality, sung only by Gitane Demone. Here too, Valor proves his abilities in musical arrangements: the sound is, indeed, captivating and charming. This piece will also be reprised on several future occasions by Gitane Demone, who will offer it both in its original version (on the greatest hits collection Life in Death ‘85-’89) and in an alluring, more danceable version (on the second CD, Extra Material, of the Special Edition of Facets Of Blue, published in 2000 by Apollyon).

"Ketzerei" is a rhythmic and overwhelming piece, with the chorus being the repetition of the phrase: “Ketzerei: this is heresy.” Now we come to the painful notes: "Window Pain" and "The Third Antichrist" are two rather long and decidedly boring tracks. The first starts with a kind of ambient/post-rock introduction, then unfolds in the classic decadent and unhealthy rock sound that characterizes the entire Sex & Drugs & Jesus Christ, to which, at a certain point, flute inserts and neoclassical lyrical voices are added. The song’s progression seems a bit confused and inconclusive to me, and some arrangements seem thrown together at random.

"The Third Antichrist" is the unjust conclusion to this album: a long wandering, a full 10 minutes and 19 seconds, through Valor's musings, accompanied by metallic and sinister atmospheres, yet without head or tail. Towards the middle of the track, it is also possible to faintly discern distant inserts of the choir "Va Pensiero" from Verdi's Nabucco. Those lucky enough to have purchased the 1995 reissue from Jungle Records, like me, will discover 99 tracks on the CD. In reality, the actual tracks are the 10 canonical ones I've just talked about, plus number 99, the version sung by Gitane Demone of "This Is Not Blasphemy."

I consider it a true hidden ghost track, as its presence is not indicated anywhere at all. Arriving at a conclusion, it's possible to classify this album as one of the salvageable productions of the anti-hero Valor Kand, even if not all the tracks contained are of the same quality. Listening to this work is a continuous transition from moments of darkness to flashes of light, where Gitane Demone's contribution has decidedly uplifted the musical fortunes of an album that nevertheless captures attention, thanks to an exceedingly fitting artwork.  

Tracklist:

1 This Is Heresy

2 Jesus Where's The Sugar

3 Wretched Mankind

4 Tragedy

5 Erection

6 Ten Thousand Hundred Times

7 Incendiary Lover

8 Ketzerei

9 Window Pain

10 The Third Antichrist