Type O Negative
Bloody Kisses

THE REVIEW

Type O Negative, led by Peter Steele, was one of the most talked-about bands of the nineties, drawing fierce accusations of racism, misogyny, Nazism, and even Satanism. But it was primarily the figure of the leader that polarized such rumors onto himself, a perverse man with a past spent in urban decay, but in reality, also a born provocateur. "Music is my psychotherapy" he used to say, and if his lyrics reflect what inhabits his mind, it's worth believing him.

After releasing "Slow, Deep And Hard" (their masterpiece, an unattainable concentration of aberrations), the band published "Bloody Kisses", which in form and partially in content quite radically diverges from its predecessor. After the playful-pornographic introduction of "Machine Screw", the group launches into one of their best tracks ever: "Christian Woman". For all its nine minutes, the song is held down by Steele's warm and visceral voice alternated with sweet female choruses, which certainly aren't enough to hide how blasphemous the text is, transferring the religiosity of the "Christian woman" into a carnal desire for God. Despite these words being uttered among birdsongs and flawless keyboard flights, the effect is far from grotesque, rather passionate. The song closes triumphantly, where Steele victoriously declares "Jesus Christ looks like me". After this catharsis, the record breaks in with the second single, "Black No. 1", over eleven minutes of Hard Rock tainted with Progressive without faltering or digression, showcasing all the band's inspiration and ability, while the lyrics again feed a deliberate bad taste. The first two tracks alone would suffice to make the album a classic, Type O Negative will not reach such heights again. What remains adds little to the visionary world already evoked: the wild hardcore of "Kill All The White People" recalls past times, though without achieving the epic violence of their beginnings, "We Hate Everyone" and the numerous instrumental interludes accentuate the sarcastic side, while "Summer Breeze", the title track, and the long closing pieces shift onto more relaxed and intimate territories, emphasizing the strong progressive attitude.

"Bloody Kisses" may not be indispensable, but it is an important album from a fundamental band, which should be seriously considered by those who still do not know them. Not to mention the cover, which would certainly make a great impression proudly displayed in your room.