They both love the band for completely opposite reasons, but hey, whatever!” says Hickey. “It’s funny because the band has this group of fans who are still hardcore guys and a group of fans that are total goth girls and dudes. The record took the sprawling epics of doom, industrial, and thrash from Slow, Deep and Hard, and seamlessly incorporated melancholic post-punk to create the definitive gothic metal masterpiece, forever changing the face of music as we know it.Īlthough it would take some time before they broke through into the mainstream, Bloody Kisses found a receptive audience in various underground subcultures immediately. Great art is always a reflection of its time and place, and nothing quite captures the desolation, romanticism, humor, and danger of pre-gentrification New York City like Type O Negative’s second studio album, Bloody Kisses. Type O Negative was always an amalgamation of everything around us. We kind of went the goth way but mixed with a lot of other stuff like industrial, and there’s still metal in there. We were kind of pushed into different zones, out of hardcore, out of thrash, out of metal. Like, everything seemed new and inventive,” he says. Iconic records were dropping in the early 90s and there’s no doubt about it, there was a revolution going. The feelings on Siamese Dream were amazing. Pearl Jam was just too mainstream for me. Those were the two bands that really sold me on. Of course, it was ‘93 so I was listening to Nirvana, but I wasn’t a huge fan because it was a little poppy for me,” he says. “I was still listening to Slayer and metal. It’s just from hanging out in that neighborhood.”Īlthough invigorated by the sounds of Lower Manhattan’s club scene, the prevalent spirit of innovation throughout rock music in the early 1990s can’t be understated. You know, that kind of stuff out of the late 80s was very much a big influence at the time. Stuff like Nick Cave, Bauhaus, My Bloody Valentine. It was cool that we’d find the Misfits on the jukebox before Metallica mentioned them and all these cool other artists that weren’t mainstream yet. “There was a punk edge to the neighborhood. It had this whole… it wasn’t grunge, and it certainly wasn’t metal. “Between ‘89 and ‘93, Bloody Kisses era, we used to go out to the Lower East Side on the weekend and drink vodka in the street, and go to Alcatraz and Wah Wah Hut and all the cool bars that were still on Avenue A. The darker post-punk music that radiated through those neighborhood bars and clubs had a profound impact on the band’s writing. Type O Negative began spending more and more time in Manhattan, becoming fixtures on the Lower East Side scene. But you know, around ‘93 is when L’Amour started slowing down.” It was death if you were a hair band after ‘91 when Nirvana broke.” He continues, “We still had national acts coming through, thrash bands and stuff like that. Then L’Amour became known as sort of like the ‘HAIR CLUB’. “Now Ron Delsener started deferring all the bands to Manhattan venues like Hammerstein. “The grunge thing was happening systematic destruction of L’Amour at that point,” says Hickey. Around the same time, the once-thriving South Brooklyn metal scene was changing, as evidenced by the downturn in activity around the legendary Bay Ridge club, L’Amour. By incorporating Black Sabbath-inspired doom elements along with the thrash and hardcore sensibilities of Carnivore, Type O’s debut album Slow, Deep and Hard became an underground sensation.
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