Led by Peter Steele, both lead vocalist, bassist, and playgirl model, Josh Silver on the keyboards and backing vocals. Sal Abruscato handles the percussion and does an excellent job with the spacious style, while Kenny Hickey directs the guitars and backing vocals. The band would tap into the funeral style and the scenery of a Hammer Film. It was these movements that made the first musical track, “Christian Woman” an anthem that reigns eight-minutes in length.
“She Needs… Corpus Christi” Steele explains, behind the growls and choir heavy influenced backing vocalization. Type O Negative manages to be painted black, but has a beautiful sense of direction behind them that glimmers with higher pinned keys and synths. With the sudden acoustic guitar that cuts halfway through, “Christian Woman” becomes graceful with a slight interlude before leaping back at the throat of the listener. Steele moves to explain, “Jesus Christ looks like me” before having a revving guitar from Hickey form with a church organ that cascades throughout the mix. Type O Negative keeps an interesting perspective on the outlook of their music and appearance of the band. With a 6’7” Steele guiding the band through the satirical lyrics and the band containing a 90’s Goth overcoat, Type O Negative was able to back their stage presence with a full sound.
With the rugged jump, “Kill All The White People” is aggressive and becomes a feedback ridden piece of anthem punching. The death growls and samples of “Kill them all” that crashes through the music with thunderous crashes strikes a different sense of fear than previously displayed. Focusing more on the horrors of war, Type O Negative clashes into a hardcore-esque percussive beats and attacks that finishes with a barrage of sampling until “By any means necessary” floods the frame.
Other tracks like “Dark Side Of The Womb,” “Machine Screw,” and “3.O.I.F.” are strictly atmospheric and feature no instruments or singing. They are breaks in the action that actually become disturbed and act more as separate entities within Bloody Kisses.The album that stretches well over an hour comes to a final close with “Can’t Lose You”.
A final touch from the black beauty that is Type O Negative, “Can’t Lose You” is a final beg and plead that taps into the strange instrumentation and style that the band had. Bloody Kissesis an example of experimentation that works and still has that fine balance of being able to move between atmospheric and glorious, the strange with the desirable. It is a gothic dream that launches well and showed success in the final stages, just as the album began.