Over the years, Christian Death have epitomized what could be called the "revolving door syndrome" in rock -- in other words, the band has had so many lineup changes (one right after another) that it is hard to stay on top of who is and isn't a Christian Death member. Some admirers of Christian Death's early-'80s recordings will, of course, argue that the 2007 lineup heard on American Inquisition -- singer, guitarist, and keyboardist Valor Kand; singer and bassist Maitri; and drummer Nate Hassan -- is Christian Death in name only, and that no lineups since the departure of the late Rozz Williams in the mid-'80s deserve to be called Christian Death. This highly conceptual effort (which is best described as goth rock, darkwave, and alternative rock) has received a wide variety of reviews on the Internet; some reviewers have trashed it while others have praised it -- and the truth is somewhere in the middle. American Inquisition is a worthwhile, if uneven and sometimes self-indulgent, outing that takes dead aim at one of Christian Death's favorite targets -- far-right Christian fundamentalists -- and points out the disturbing alliance between Christianity's lunatic fringe (which doesn't speak for all Christians) and the George W. Bush Administration. The eyes of some listeners will no doubt roll when Christian Death get into kooky conspiracy theories claiming that the 9/11 terrorist attacks were staged not by al-Qaeda, but by a secret society of globalists who the Bush Administration is in cahoots with -- a theory that is impossible to take seriously because the neocons' abysmal track record (invading Iraq without a coherent game plan, Hurricane Katrina, a staggering federal deficit) is the work of bumbling, incompetent fools, not people sophisticated enough to carry out elaborate conspiracies. Nonetheless, American Inquisition is an intriguing listen despite its excesses, and truly die-hard Christian Death followers will find things to appreciate about this 69-minute CD even though it isn't among the band's essential releases. ~ Alex Henderson, All Music Guide
Inspired by the works of Nostradamus, Prophecies is another bid from Christian Death for ownership of hell's eight acres. A macabre soundscape of sound effects and synthesizer introduces "Whisper," the lead track, with Valor Kand's voice whispering its way in alongside a distant fuzz guitar, a prominent bassline, and what sounds like an ancient chorus. The madness continues on the heart attack rhythm of "Alone," with the cavalry charge of insistent guitars and a backwards drum loop (also used on "The Great Swarm of Bees"). An evil assemblage of voices accompanies the tortured vocals of a woman performing a duet with Kand's depraved manifestation on "Into the Shitworld," and a stormtrooper's marching riff kicks off "The Pig Half Man" before an assault of sweaty vocals and an aggressive melody wrestle for control. A synth line reminiscent of the Psychedelic Furs' "Love My Way" is used to good effect throughout "Thunderstorm." Prophecies closes with "Nineteen Ninety Nine," a sound collage of slow breathing, the beeping of a life support machine, and TV noises, with more sounds enveloping as the song progresses, ending in weird chanting seven minutes in, making it a more than appropriate finale. As you can hear within these songs, Christian Death is most on the mark when the group's music and lyrics conjure up images of horror, sadness, and depravation. It is easy to trace Christian Death's influence on modern industrial/goth acts such as Marilyn Manson and Nine Inch Nails. Prophecies is an excellent highlight of Christian Death's '90s work, staying current and yet still mentally unstable. ~ Simon Cantlon, All Music Guide