Lee, Judas Kiss

Rozz has always been a bit of a hero of mine, to be honest. From his beautifully sung and highly emotive death rock Christian Death tomes, to his claustrophobic noise manipulations of premature Ejaculation to the freeform experimentations of Heltir, to this intensely atmospheric and haunting poetry accompanied by haunting soundscapes, I've never found fault in his genius or his many musical outings (and there have been many more than those listed above). So when he committed suicide a few years back, I was stunned, but not really surprised as he always appeared as some what of a complex performer who was constantly struggling with his demons. So the final curtain was drawn on his career and sadly that was that, until now. 'Accept the Gift of Sin' captures the legendary 'one off' performance, that Rozz did aided and abetted by the troubled troubadour (and very underestimated, especially here in Europe) David E. Williams that had proven to be somewhat of a legendary performance in a number of respects. Perhaps it was the stirring rendition of 'Tomorrow Belongs to me', from the movie 'Cabaret', which Rozz performed with a Swastika flag rapped around his shoulders and the following debacle with the promoter and bouncers that give this live outing such infamy. Perhaps it was, but in all honesty this performance has a lot more to it than camp flirtations with the 'Fatherland' as Rozz for reasons known only to him and his close comrades on the evening, he decided to add this own twist to a wide and varied selection of tracks from other artist including 10CC's 'I'm not in love' which he performed with an intensely bittersweet quality, 'Dream a little Dream of me' and David's own ode to 'giving head' to a stormtrooper, 'Beautiful Brownshirted Man'. However this isn't just a CD of covers, oh no, there are also two storming renditions of early Christian Death classics (unfortunately the rendition of 'Romeo's Distress' was omitted from this disc) which Rozz reinvents to sound as fresh as the first time they were played and the harrowing noise escapades of Mindfuck (soundtrack to a murder) in which Rozz adds his unique vocals to a barrage of harsh noises and feedback, which acts as an epitaph to the evenings proceedings perfectly. Live albums are generally a bit of an oddity really, as they tend to attract already established fans, however on this occasion 'Accept' has the ability to do so much more by introducing Rozz's unique work to a whole new audience who have previously seen him as nothing more than a 'Gothic' artist, when in reality he was so much more. 'Accept.' acts as a fitting end to one of the most overlooked and under appreciated artists the twentieth century has spawned. Perhaps now after death, like so many others his true genius will be finally recognised. LP +