"I'M HIDING BEHIND WALLS YOU CAN'T SEE."
Rozz Williams cleverly chose Christian Dior, the fashion product line, (CHRISTIAN DIOR OR DEATH) as a band name ... This indicated dimension to the simplicity of the name. The namesake was perhaps a nod to Christians fashionably wearing Christianity, a societal nicety outfit, rather than REALLY live spiritual life as Jesus preached. The Beatitudes. We all sin. We are all covered in the BLOOD OF JESUS.
I'm not going to do a psychoanalysis cos I do believe that shit is gay.
But I suspect that deep down, Rozz saw himself as a messiah, a prophet, seeing hisself laid on cross as a Jesus. Jesus as the archetype. And Rozz certainly mused archetypes, particularly all over the brilliantly timeless masterpiece HELTIR "NEUNE SACHLICHKEIT". In fact, all of ROZZ noise projects put THROBBING GRISTLE in the dirt as granddads, PREMATURE EJACULATION WOUND OF EXIT scares all of Hollywood 8ball into pocket.
Let's not teeter off the path...
"KISS ON MY HAND."
Undoubtably ROZZ WILLIAMS, a high art fashion icon, brought a gothic bridegroom cavernous style to 80's L.A. He was a scene unto a scene.
Like plenty teenagers of the day (and this day), gender bending Bowie, left a big impression on Rozz, and given a deep fan of Bowie, he probably had a war room of ideas in his bedroom. One of these fatalistic ideas makes up the poetry of ONLY THEATRE OF PAIN, which instead could be novella, a manifesto, a declaration to what? Only ROZZ and The LORD know.
Rozz poetry without a doubt, is what is forefront, Tis first thing most will take away upon first listen, the lyrics and that tired yet raspy crawling voice. The lyrical themes include spirituality, death, hypocrisy, sodomy, art, necrophilia, theatre, sex, sexual abuse. There are enhancing tricks such as; bells, back masking, sounds of wind or sea(?), organs? synths?, airy atmospherics, Thom Wilson handled production (1 of my favorite albums T.S.O.L. "DANCE WITH ME", another ADOLESCENTS s/t). And Thom Wilson did the best job here, really shaping the performance for record, was it hands off hand on, idk.
The guitar tone is vintage LA punk. Legend Rikk Agnew (ADOLESCENTS) got free reign to melodically shred, he leveled up his work on ADOLESCENTS, here AGNEW horrifically plays harmonies that spawned a whole bunch of sub genres. He goes avant garde at most moments, like what is he even doing? The hypnotic riff on "ROMEO'S DISTRESS" and it's shredding chorus riff, too much, absolutely master craftsmanship at such an age.
JAMES McGEARTY bass is the secret weapon of the record, ala the lead into "BURNT OFFERINGS", and to an extent other lead ins--- brillant. It's a throbbing dance-y bass that beautifully interplays with the free-jazz drumming of GEORGE BELANGER. Yet the way McGEARTY plays and sounds is exactly how I like my bass. It's incredible how tight this band is, other incarnations of CHRISTIAN DEATH are one thing, but this original crew, was and is the best.
"ACT ONE IS THE END NOW, THE SHOW BEGINS"
"CAVITY - THE FIRST COMMUNION"
"NAILING YOU TO THE WALL NAILING YOU TO THE SPANISH MYSTIC"
And how the bells do chime. The entrance ritual begins, drums (and oh how I love how you can hear the air between hit of the kit) electric strums, and that big boom bass in which starts ROZZ "LET'S SKIRT THE ISSUE OF DISCIPLINE, LET'S START AN ILLUSION, WITH HAND AND PEN" opening lyrics to theatre, ANTONIN ARTAUD influence? I could only imagine what it was like to see this CHRISTIAN DEATH perform in a scene of Black Flags (my favorite record of theirs "MY WAR" I'll review it one day). What is RIKK AGNEW even doing it's incredible, the tremolo slow pacing but bat surf-shredding, idk, so on pulse with ROZZ lyrical tempo, that watery bridge "PERENNIAL ARTIST WHAT DO YOU SEE?" It's like Nirvana sniped this and made "COME AS YOU ARE". "ACCEPT THE GIFT OF SIN" ROZZ is so overwhelming with imagery that it nearly impossible to hear anything else distinctively, Spanish mystic, roman solider, shooting outside, red death, true love, et al. The track ends with a motif that bleeds and courses throughout the record, where BELANGER'S drumming rides from burning daylight to sunset mists to atmospheric aid. What "CAVITY -THE FIRST COMMUNION" could hint at is that the Roman Empire never fell, as we still have "BLOOD ON OUR HANDS", this could allude to the crucifixion of JESUS, and the Spanish mystic that maintains a Christ altar prayers based on OUR LADY OF SORROWS. Yet in turn the sacrifice is you, as you are nailed to the wall, you are the Roman solider, you are akin to CHRIST. This is your/our "CAVITY- THE FIRST COMMUNION"
"FIGURATIVE THEATRE"
"A CHILD'S CRY TURNS INTO HILARITY"
McGEARTY deep throb bass kickstarts "FIGURATIVE THEATRE", enticing the listener to dance and sway to the notes. The part that really throws it into hyperdrive is when RIKK'S slides into "RAZOR SHARP TONGUES". ROZZ declares that act one has ended, and here in "FIGURATIVE THEATRE" you are observing all the debauchery of the L.A. Scene. Of course implementing romantic language "CABARET SLIDE SHOW'S START, SHOOTING THEIR LOADS". This track starts almost as abruptly it ends. Amongst the other tracks this is full force of punk timing, which makes...
"BURNT OFFERINGS"
"BLOOD RUNS DOWN THE INSIDE OF HER THIGHS"
The chaotic goth jazz of "BURNT OFFERINGS" so spaced out yet fully fleshed out sound pangs in the abstract. Lyrically not so much, these are specific stories ROZZ vocalizes. This is archetypal CHRISTIAN DEATH sound, I would say, that this is the sound of conjuring, probably one of the best examples of what this band was aiming for at the time, it goes way beyond the labels of goth, punk, death rock, what you are hearing is an entirely different creature. RIKK is all over the place, the tension and wallowing, nearly the only consistacy is McGEARTY'S push and pull danceable bass, whereas BELANGER drums like a room of astrological signs, so cool so relaxed. And a nod to "CAVITY - THE FIRST COMMUNION" the bells return, fading by the bass. This is fever ROZZ, it sounds as if he was hallucinating, ranting at an unforeseen bog. This track would be the signpost of the extremely dark light a cigarette in a motel 6 "EVERY KING A BASTARD SON", his solo effort under his name ROZZ WILLIAMS, a gigantic dark masterpiece.
In "BURNT OFFERINGS" it is a story he tells, as if there is something very traumatic that either ROZZ experienced or heard of... "NO MOON IS SHINING LIKE THE UNTOUCHED, ASS OF THE BOY NEXT DOOR"... the first refrain of a lady, given the lyrics it seems as if by "BURNT OFFERINGS" ROZZ calls out GOD AND SATAN dualistically for these traumatic events "BURNT OFFERINGS". "ONLY THEATRE OF PAIN" straddles this line like the GUNNAR EKLOFF Poem "the devil is god god is the devil", this dualistic spirituality is present through out the album. And again the track ends as the collapsing motif of drums, feedback, fading into the atmosphere that is ONLY THEATRE OF PAIN. How this album was pieced together is the stuff of legend, ritualistic fluid
"MYSTERIUM INIQUITATIS"
"IT'S ONLY THEATRE OF PAIN"
The first words of Latin, catholic imagery. The fourth track, four being the ritual number. The album title is referenced, this might as well be the title track, however dimensional thinking forces you to associate this title with the album title. This by now, as you hear, is completely deliberate, hence the description of ONLY THEATRE OF PAIN being ritualistic, this album has been designed start to finish. What other band sounded like this, came onto a scene like this? None. Every track to this point has been building from the last. "MYSTERIUM INIQUITATIS" translates to THE MYSTERY OF INIQUITY. "INIQUITY" according to the dictionary is "immoral or grossly unfair behavior." This is the scene in the movie where you realize the narrators enlightenment. Sonically "MYSTERIUM INIQUITATIS" unravels from "BURNT OFFERINGS". There are these mystical sprinkled shines that begin it TIL the band throws itself into the whirlwind of ROZZ lyrics. The bells are here, returned, providing the long players consistency. There is an awesome RIKK AGNEW punk breakdown that appears towards the end of the track, it's so urgent, and congruent to the narrative of this record, in that, each track builds from a spark and travels into an unrelenting fire, which like a candle flickers or snuffed out by the next track. There is reverse verses, which might as well show that ROZZ read ALEISTER CROWLEY (I read 777 and the Blue Brick, yet halfway the red ribbon rests).
"DREAM FOR MOTHER"
"NUMBER THE BODIES IN THE MORTAL WORLD"
Atmospherics start this one. One of the best RIKK AGNEW riffs, I'd say this is RIKK's RNA on display, trademark. "I'LL INTRODUCE REALISM, THE EYE OF THE BEHOLDER". It's interesting that there is not a DREAM FOR FATHER, as both mother and father are referenced in ONLY THEATRE OF PAIN. This track lyrically sounds like an appeal to release the person address of mother's apron strings. "DREAM OF MOTHER" continues what the two tracks established. That free jazz goth groove, the lyric "PALLIATIONS FOR A WEAKER SEX" particularly stand out, as to be tied to your mother is a disease. This without a doubt a reformation of THE DOORS "THE END". It is the fifth track, five being the life path.
"STAIRS - UNCERTAIN JOURNEY"
"LUCIFER PERISH, I RECALL SIN"
This is the most 70s influenced track on the album. As if thematically CHRISTIAN DEATH grooved over "THE END" with faster punk goth gun, what with Kraut rock as a backdrop, ala McGEARTY'S awesome bassline, and it skipped over Queen's "THE PROPHET SONG". What it sounds like, ascending and descending an eternal staircase from some castle in the sky. ROZZ uses the LORD'S PRAYER but substitutes SATAN, and yet he bellows "SATAN BE GONE", as if to banish SATAN in refrain. Further exemplifying the duality of perhaps indicating tyrants in both GOD and SATAN. "THIS IS THE CITY OF GOD" (as is stated in reverse). This is the center of the record. It feels like poetry club beatnik, freak out, the band plays goth jazzy.
"SPIRITUAL CRAMP"
"JESUS WON'T YOU TOUCH ME COME INTO MY HEART, WHERE THE HELL ARE YOU WHEN THE FIRE STARTS."
Probably the second best accessible single from ONLY THEATRE OF PAIN. RIKK AGNEW in rare form destroys it on guitar, awesome riffs. It's either this track or "ROMEO'S DISTRESS" you introduce to a normie on a mixtape/playlist. The momentum from the first half of record has now picked up, that punk energy returns. "I'M USING MY FINGERS, INSTEAD OF WORDS." Which hints at the stage show that was definitely the best ticket in town. CHRISTIAN DEATH what would they do, what with all these songs, what would they say? Rozz ends by saying "SATAN IS BY FAR THE KINDEST GUEST" SATAN is more accessible than JESUS. He called out for JESUS when the fire starts, but given no answer he accepts SATAN as the "Kindest guest", this conclusion leads itself to entertainment. By being idle and entertained of course SATAN will welcome you with warm hellish hands.
"ROMEO'S DISTRESS"
"ROMANCE IN SEQUENCE, HARMFUL TO THE BLIND"
This is the track. The one known even if you not know it. The biggest CHRISTIAN DEATH single. A song that aims at the hypocrisy of Christians that are hateful race baiting KKK POS. Clearly Jesus said we was/are equal by the Most High. But there was a time when Christianity was used as a weapon to prosecute other races, other religions. You could say that career politicians, Malcolm X said it, that slave owning democrats will lie and lie to your face, hell The Biden Campaign wouldn't hear ICE CUBE'S PLATINUM Plan but TRUMP did. ORANGE MAN BAD. Politics suck and weaseled into this review. BIDEN dropped a hard "R" in congress, you voted for racist,. So who really the white sheets, think what you wanna think, if someone telling you can't think a way, then what is that, duh. ROZZ drops the hard "R" in nigga on this one, which makes it so unaccessible by todays standards, to the point of censorship. But the madman had a point. How the hell is you Christian and JESUS CHRIST loving when you them was lynching on the difference of skin. This is one of best tracks to describe that illness. It's so direct and probably the most punk driven song on the LP. Given all of the lyrics on ONLY THEATRE OF PAIN, this is the track that would default it or subset it to virtue signaling. When it is just an incredible piece of sound. "I'M SO TIRED".
"RESURRECTION - SIXTH COMMUNION"
"ON A BED OF NAILS, WAKE ME UP WITH YOUR KISS"
The conclusion of CHRISTIAN DEATH'S sound on this record. I can hear how DEATHSPELL OMEGA took from this. This is the end of the novella. The punchy bass and wine trawling guitar, drums beating hi-hats, slow groove to end it, " I"M WAITING FOR CONSUMMATION, I'M WAITING FOR CONTEMPLATION, I'M WAITING FOR CONFRONTATION, WAITING FOR A PLACE TO, LAY MY BODY DOWN." The whirlwind of confusion has ended. A direct tiff with the audience here it is... like previous groove free goth tracks on the album, whittles away towards this one serves as the ending for the
"PRAYER"
Warped, a back masking. The ritual sealed with back masking, a prayer of reversal. Hence back to the begin.
CONCLUSION:
A PERFECT ALBUM. Cohesive in vision and sound. Ritualistically Fluid. The only fault is deconstructing ROZZ poetry, good luck, it's sound, and he sang as in control, which lacked in the punk scene, where CHRISTIAN DEATH did not see themselves as. This is a journey record, it also very much an at the moment high listen. It invites you from the very start to end. Completely consistent, the record interlocks based sounds weaved in most tracks, to remind you of it's fluid approach, it is really that fluid. Where you go from that, well that is of you and the Most High. Recommended you dig into ROZZ WILLIAMS. ONLY THEATRE OF PAIN is a legendary goth, punk, death rock, whatever you wanna call piece of composed music, that is of essential listen in those categories and spiritually beyond. It is certainly cathartic to a normal listener who is willingly devoid of spirituality. ONLY THEATRE OF PAIN is crowned of its cult status, no doubt, it overshadows all punk in a mystical dark fog. You hear that, "This is it." Album. Forget "NEVERMIND" ONLY THEATRE OF PAIN went blow for blow. Infamously the record was binded in human flesh like the NECRONOMICON, something the MISFITS and NECROS aspired to... ONLY THEATRE OF PAIN is the definite dark spiritual document of its time. Nothing touches it in scope, as a raw theatircal angelic dialogue with both GOD and SATAN.
Favorite tracks:
"CAVITY - FIRST COMMUNION", "FIGURATIVE THEATRE", "BURNT OFFERINGS", "MYSTERIUM INIQUITATIS", "STAIRS - UNCERTAIN JOURNEY", "SPIRITUAL CRAMP", "ROMEO'S DISTRESS"
10/10
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