Leaving the metaphysical to be argued elsewhere, this review will instead try to focus on music and the overall product. While Johnson has released a very high quality package, the substance has some major flaws. Where to begin? How about the music, which sounds like a less complicated and humorless Type O Negative with an expensive drum machine. While the drummming is quite a bit distracting, sounding altogether too neat to be made by authentic acoustic instruments, Johnson's voice is a drawback. Though the low vocals are indeed Gothic in nature, a thick lisp unfortunately belies the lyrical gravity to the point of being laughable. Add to this the notion of using "studio magic" to augment said voice -- to wit, some vocals seem to have been enhanced in terms of note length, vibrato, and perhaps even tone -- and any intrigue left will wane.

Some strengths do exist, however surprising this may come at this point of the review, and chief among these is Johnson's guitar work, ranging in style from Goth Rock to Doom Metal to Spanish guitar and perhaps more. Also, the use of symphonic keyboards successfully adds to the music's dark atmosphere. BMO is a challenging listen on any of several fronts and if Johnson could find a band to support his vision, things would undoubtedly improve. Here is some curious "math" to help summarize: think latter era Tiamat + lotsa "The Devil Went Down to Georgia," particularly in some vocal patterns (Johnson is from Alabama, by the way) + adoration for Therion + a less inspired The Bronx Casket Co. + unique but awkward vocals + interesting subject matter more ably tackled by King Diamond + memorable arrangements - some sonic originality = The Great Apostasy: A Conspiracy of Satanic Christianity.

written by Tony Belcher

Playing time: 58.14