Christian Death Embarks on European Armageddon Tour as Deathrock Pioneers

Deathrock band Christian Death has announced a series of European tour dates, known as the Armageddon Tour. The tour will take the band from Spain through Germany, Belgium, Poland, Italy, France, the Netherlands, and Czechoslovakia, concluding in Ireland on June 3rd. Regarding the title of the tour, Christian Death’s leader, Valor Kand, remarked, “We do not claim to be clairvoyant, just look around. An eye for an eye, a pound for a pound.”

Christian Death will be promoting their latest full-length album, ‘Evil Becomes Rule,’ while also performing classic tracks from their extensive back catalog. This album is the band’s 17th studio release, featuring a lineup that includes Valor Kand, Maitri, Chuck “Chains” Lenihan, and Steve Kilroy. The album, ‘Evil Becomes Rule,’ defies categorization, blending elements of gothic rock, post-punk, dark pop, and a poetic aesthetic.

Christian Death formation can be traced back to the late 1970s, a period denoted by a burgeoning punk rock scene in Los Angeles. Amidst this movement’s chaos and raw energy, a young artist named Roger Alan Painter, better known by his stage name Rozz Williams, began channeling his fascination with macabre and religious iconography into a musical project known as Christian Death. Williams, who had been deeply influenced by bands such as The Velvet Underground and The Doors, sought to create a sound transcending the typical punk ethos, infusing it with gothic elements reflecting his dark and introspective nature.

Williams’ upbringing played a significant role in shaping his artistic vision. Raised in a conservative Christian household, he was exposed to religious themes from an early age, which he would later subvert and reinterpret through his music. The name “Christian Death” itself was a provocative statement, challenging the religious and societal norms that Williams found oppressive. This rebellious spirit was a driving force behind the band’s early formation.

In 1979, Williams connected with several like-minded musicians who shared his vision for a new, darker form of punk rock. Guitarist Rikk Agnew, a prominent figure in the Orange County punk scene and former member of the Adolescents brought a raw and innovative guitar style to the band. His contributions were crucial in shaping the band’s early sound, characterized by its abrasive yet melodic guitar lines. Bassist James McGearty and drummer George Belanger completed the lineup, each adding their unique musical influences to the mix.

The early days of Christian Death were denoted by a sense of experimentation and a desire to push the boundaries of what punk music could be. They began performing at local venues such as the Hong Kong Cafe and the Whisky a Go Go, where their intense and theatrical live shows quickly garnered a following. Williams’ stage presence was magnetic; he often adorned himself in dark, elaborate costumes and incorporated performance art elements into their sets, creating an immersive and unsettling experience for the audience.

In 1981, Christian Death entered the studio to record their debut album, ‘Only Theatre of Pain.’ The recording sessions were intense and fraught with tension, reflecting the band’s tumultuous dynamics and the dark themes they sought to explore. The album, produced by Thom Wilson, known for his work with punk bands like The Adolescents and T.S.O.L., captured the raw energy and haunting atmosphere that defined Christian Death’s early sound. Tracks like ‘Romeo’s Distress’ and ‘Spiritual Cramp’ demonstrated Williams’ lyrical prowess and the band’s potential to blend punk aggression with gothic melancholy.

‘Only Theatre of Pain’ was released in 1982 on Frontier Records, a label known for its roster of influential punk bands. The album’s reception was polarizing; while some critics dismissed it as overly morose and inaccessible, others praised its originality and depth. Despite the mixed reviews, the album quickly gained a cult following, particularly among fans of the emerging goth subculture. Its influence would be felt for decades, as it laid the groundwork for what would become the deathrock genre.

The release of ‘Only Theatre of Pain’ marked a turning point for Christian Death, solidifying their place in the annals of alternative music history. The band’s preparedness to confront taboo subjects and their adeptness to evoke a sense of both dread and beauty in their music set them apart from their contemporaries. This early period of Christian Death’s history attests to the power of artistic vision and the impact of a band that dared to defy conventions.

Christian Death’s musical style and thematic content have always been central to their identity, setting them apart from other bands in the punk and goth scenes. From the outset, the band demonstrated a unique ability to blend genres, creating a haunting and aggressive sound. This duality was a hallmark of their music, resonating deeply with audiences drawn to the dark, introspective themes that permeated their work.

Williams’ vocal delivery was another defining feature of Christian Death’s music. His voice, ranging from a haunting whisper to a visceral scream, conveyed a wide spectrum of emotions, from despair to rage. Williams’ lyrics were densely poetic, often exploring death, decay, and existential suffering themes. His fascination with religious iconography and subversion was evident in many of his songs, which frequently juxtaposed sacred and profane imagery to challenge conventional moralities.

For instance, in ‘Romeo’s Distress,’ Williams’ lyrics paint a bleak picture of love and loss, using gothic and romantic motifs to explore the darker side of human relationships. The song’s refrain, “Burning crosses on a nuns’ front lawn,” is a provocative image that abridges the band’s eagerness to confront and unsettle their audience.

Christian Death’s instrumentation and arrangement further contributed to their unique sound. The interplay between Agnew’s guitar and McGearty’s bass created a dense, layered, melodic, and dissonant texture. The bass lines were often prominent, providing a driving force that anchored the songs while allowing the guitar to explore more atmospheric territories. Drummer George Belanger’s rhythms ranged from tribal beats to aggressive punk drumming, adding to the band’s dynamic range.

The use of unconventional instruments and studio effects also played a role in shaping the band’s sound. On tracks like ‘Cavity – First Communion,’ the inclusion of synthesizers and reverb-drenched guitars created an otherworldly, almost cinematic atmosphere. This approach to production was ahead of its time, anticipating the broader use of electronic elements in goth and industrial music.

Christian Death’s thematic content was as complex and multifaceted as their musical style. The band’s exploration of death and mortality was a constant theme, reflecting Williams’ personal preoccupations and his broader commentary on societal norms. This preoccupation with death was not merely aesthetic; it was a philosophical stance that questioned the nature of existence and the human condition.

Religious imagery and critique were also central to the band’s thematic repertoire. Williams’ upbringing in a conservative Christian household provided a rich source of material for his lyrical subversion. Songs like ‘Spiritual Cramp’ and ‘Deathwish’ are rife with references to Christian iconography, often presented in a blasphemous or irreverent context. This critique extended beyond Christianity to a broader commentary on institutionalized religion and its impact on individual freedom.

Sexuality and taboo subjects were another recurring theme in Christian Death’s music. The band did not shy away from exploring the darker aspects of human desire, often using provocative imagery to challenge societal norms. This willingness to confront taboo subjects head-on was a defining characteristic of their work, contributing to their reputation as a boundary-pushing band.

Literature and visual art also played a significant role in shaping Christian Death’s thematic content. Williams was an avid reader, drawing inspiration from authors such as Edgar Allan Poe, Charles Baudelaire, and William S. Burroughs. These influences are evident in the band’s lyrical content, which often features gothic literature and existential philosophy elements.

The visual aspect of Christian Death’s artistry was equally important. Their album covers, stage costumes and promotional materials often drew on themes from surrealism, expressionism, and horror cinema. This visual aesthetic complemented their music, creating a cohesive artistic vision that extended beyond the auditory experience.

The documentary ‘Forget Me Not, or I’ll Forget Myself,’ presents an intricate narrative of Christian Death, exploring the group’s profound impact on the gothic rock genre and their cultural significance. Directed by acclaimed filmmaker Jennifer Moore, the documentary offers a nuanced portrayal of the band’s evolution, underpinned by exclusive interviews, rare archival footage, and insightful commentary from cultural critics and music historians.

The documentary meticulously chronicles these formative years, highlighting the band’s struggle to find their voice amid the chaotic punk landscape. Interviews with surviving band members and contemporaries offer a vivid picture of their early challenges, from financial hardships to conflicts with local authorities. Using archival footage from their early performances provides a visceral sense of the raw energy and emotional intensity that defined their live shows.

As Christian Death’s popularity grew, so did their musical ambition. The documentary traces the band’s stylistic evolution, marked by a series of groundbreaking albums that pushed the boundaries of gothic rock. Their debut album, ‘Only Theatre of Pain’ (1982), is often cited as a seminal work in the genre, combining macabre imagery with a stark, minimalist sound. Critics lauded the album for its originality and emotional depth, with many noting its influence on subsequent generations of gothic and industrial musicians.

Moore’s documentary does an excellent job of contextualizing the band’s artistic growth within the broader cultural landscape of the 1980s. Through interviews with music historians and cultural theorists, the film explores how Christian Death’s music reflected and responded to the anxieties and uncertainties of the era. Themes of alienation, mortality, and spiritual despair are recurrent in their lyrics, resonating with audiences grappling with the disillusionment of the post-Vietnam War and Cold War periods.

Much of the documentary is dedicated to the life and legacy of Williams, whose tragic death in 1998 left a lasting void in the gothic rock community. Williams’ artistic vision and charismatic presence were central to Christian Death’s identity, and his influence can still be felt in the band’s music and aesthetic.

The film features poignant interviews with Williams’ friends and collaborators, who reflect on his complex personality and enduring impact. Music critic Simon Reynolds, for instance, describes Williams as a “tortured genius” whose work transcended the confines of the gothic rock genre. This sentiment is echoed by several other commentators, who emphasize Williams’ role in shaping the band’s distinctive sound and visual style.

While the original lineup of Christian Death disbanded in the mid-1980s, the band’s legacy continues to inspire new generations of musicians and fans. The documentary concludes with a look at the band’s enduring influence, highlighting contemporary artists who cite Christian Death as an essential inspiration. Bands such as Bauhaus, Nine Inch Nails, and Marilyn Manson have all acknowledged their debt to Christian Death, drawing on their pioneering fusion of dark aesthetics and experimental soundscapes.

The film also examines the ongoing relevance of the band’s themes, particularly in the contemporary socio-political climate. Issues such as mental health, existential angst, and the search for meaning remain as pertinent today as they were in the 1980s, ensuring that Christian Death’s music resonates with listeners worldwide.

Since its release, ‘Forget Me Not, or I’ll Forget Myself’ has received widespread acclaim from both critics and audiences. The documentary has been praised for its thorough research, compelling storytelling, and rich visual aesthetic. Music historian Sarah Thornton commends Moore for her “meticulous attention to detail” and “ability to capture the essence of Christian Death’s unique artistic vision.” Similarly, cultural critic Greil Marcus describes the film as “a profound meditation on the power of art to confront and transform the darkest aspects of human experience.”

From an academic perspective, the documentary offers a wealth of material for further study and analysis. Scholars of musicology, cultural studies, and film studies will find much to explore in the film’s multifaceted approach to its subject matter. The documentary not only sheds light on the history and impact of Christian Death but also raises important questions about the role of art in society and the ways in which it can challenge and subvert dominant cultural narratives.

The album ‘Evil Becomes Rule’ by Christian Death was released in various editions. The initial release occurred on April 16th, 2023, under Season of Mist, a record label known for its extensive roster of extreme metal and avant-garde artists. This release was followed by a special edition on October 31st, 2023, by Cleopatra Records, which included additional bonus tracks and exclusive artwork.

‘Evil Becomes Rule’ is a significant entry in Christian Death’s discography, continuing their legacy within the deathrock and gothic rock genres. The album’s sound exhibits a dark, atmospheric quality, characterized by brooding melodies and intricate guitar work, reminiscent of their earlier works such as ‘Only Theatre of Pain’ and ‘Catastrophe Ballet.’ The band’s approach to this album demonstrates a seamless blend of post-punk influences with a contemporary edge, making it relevant both to longtime fans and new listeners.

The album’s musical style is marked by its use of dissonant chords, haunting vocal delivery, and layered production techniques, which create a dense and immersive listening experience. This aligns with the aesthetic that Christian Death has cultivated over the decades while also incorporating modern production elements that enhance the overall impact of the music.

The production of ‘Evil Becomes Rule’ showcases meticulous attention to detail, focusing on creating a rich, textured soundscape. The album was produced by Valor Kand, the band’s long-standing guitarist and vocalist, whose vision has been instrumental in shaping the band’s sound since the mid-1980s. The production quality is evident in tracks such as ‘Blood Moon’ and ‘Beautiful Misery,’ where the layering of instruments and vocals creates a sense of depth and intensity.

Kand’s production techniques involve the use of analog equipment alongside digital enhancements, allowing for a balance between the rawness of early deathrock recordings and the clarity of modern music production. This hybrid approach results in a sound that is both nostalgic and forward-thinking, capturing the essence of Christian Death’s musical evolution.

‘Evil Becomes Rule’ holds cultural significance as it reflects the band’s enduring influence within the gothic rock and deathrock scenes. Christian Death has been a pivotal force in these genres, and their latest album reinforces their status as pioneers. The themes explored in the album, such as existential despair, social decay, and the struggle against oppressive forces, resonate with contemporary audiences, particularly in the context of the current global climate.

The album’s release was accompanied by a series of live performances and multimedia presentations highlighting its thematic content, further cementing its cultural impact. The band’s ability to adapt their message to modern times while retaining their core identity speaks to their relevance and longevity in the music industry.

‘Evil Becomes Rule’ received a mixed to positive reception from critics. Some praised the album for its ambitious scope and adherence to the band’s signature sound, while others critiqued it for lacking the innovation seen in their earlier works. Notable reviews include one from Pitchfork, which described the album as “a darkly compelling journey that stays true to the essence of deathrock,” and Kerrang!, which highlighted the album’s “uncompromising vision and powerful execution.”

Critics have pointed out the standout tracks such as ‘Wretched Harmony’ and ‘Warhol’s Shadow,’ noting their lyrical depth and musical complexity. The critical consensus acknowledges that while ‘Evil Becomes Rule’ may not reinvent the wheel, it successfully reaffirms Christian Death’s position as a key player in the gothic rock genre.

The Armageddon Tour encompasses sixteen dates across Europe from May to June. Christian Death’s performances will highlight their latest album, ‘Evil Becomes Rule,’ in its entirety, alongside their classic hits. This tour represents a significant journey through various musical styles and influences that have shaped the band’s distinctive sound over the years.

The European leg of the tour includes stops in major cities, providing fans across the continent an opportunity to experience the band’s dynamic live performances. With the release of ‘Evil Becomes Rule,’ Christian Death continues to push the boundaries of gothic rock, infusing their music with a dark yet poetic sensibility that resonates deeply with their audience.