Long before Marilyn Manson first shocked arenas full of pre-pubescent teens, Christian Death was writing the blue prints for goth rock. Formed in 1979 by Rozz Williams, the group released Only Theatre of Pain in 1982, which proved to be a defining album for the goth rock sound. Throughout the band’s near-thirty-year existence, the group has experienced many incarnations and drawbacks, including the suicide of founder Williams. American Inquisition is the first album released since 2000’s Born Again Anti-Christian, which featured guest vocalist Dani Filth of Cradle of Filth.

American Inquisition shows the band continuing down a path towards a heavier sound. Juan “Punchy” Gonzales—known for producing Morbid Angel and Terrorizer albums—straps on a guitar to bulk up “Stop Bleeding on Me.” Using guest musicians to instill heaviness into the album is a reoccurring theme. Guitarist Valor merges his guitar with Coyote on “Narcissus, Metamorphosis of” for in the creation of soaring leads over top of a chugging backdrop.

Christian Death may have moved into a heavier direction, but their foundation is still built upon the traits of goth rock. Vocally, the album relies on a yin-yang effect of feminine and masculine with Valor (male) and Maitri (female) alternating their voices or merging in a concerted manner. Valor utilizes a variety of vocal effects, electronically distorting his voice or juxtaposing it into the background for cerebral results. Maitri sings with a nightingale serenade on “Angels and Drugs” or with industrial fervor on “To Disappear.”

American Inquisition is an album of balance. The female and male vocals create two opposing vocal styles, and the songs convey various moods through hard and soft passages. Their use of various instruments is a major facet in creating these contrasting atmospheres. “Dexter Said No” moves through morose piano and chorus keys. Piano and flamenco guitar follow into the next track “Angels and Drugs.” Valor makes use of violin to bring a touch of oriental mysticism to “Worship Alone,” while the album’s opener “Water in Wine” shows the violin taking on a much creepier persona.

Hardcore Christian Death fans from the early days may scoff at the newest manifestation of the group. This lineup features none of the original members and reveals a band moving closer to a metal style. The balance they strike between danceable goth and head banging metal serves to only work in their favor because it is bound to bring in a larger variety of listeners, especially considering their placement next to gothic-flavored bands of their new label, Season of Mist. They also deserve kudos for having the balls to voice their opinion in the form of a concept album exposing the hidden agenda behind the current state of the U.S.A. (check out the audio clips of Alex Jones on “XIII”).

Hopefully, Christian Death will continue to create thought-provoking, melodious albums to the degree of American Inquisition.

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