Church of Euthanasia

The One Commandment:
"Thou shalt not procreate"

The Four Pillars:
suicide · abortion
cannibalism · sodomy

Human Population:

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The Dirt Don’t Go Away

Rev. Chris Korda and the Church of Euthanasia strike again, with a new 12” EP on Gigolo Records titled “When It Rains.” The EP is a long-awaited follow-up to the Reverend’s 1999 Gigolo album “Six Billion Humans Can’t Be Wrong,” which featured such inspirational tracks as “Victim of Leisure,” “Buy,” “Buy More,” and the club classic “Save The Planet, Kill Yourself.”

So what took so long? For one thing, the Reverend has been busy testing the limits of the art world; the Church was featured prominently in the “Trans Sexual Express” art show, which opened June 2001 at the Santa Monica museum in Barcelona. Shortly after the opening, the Catholic-dominated city officials pressured the Santa Monica into censoring portions of the Church’s multi-media exhibit, until a firestorm of critical press forced the embarrassed museum staff to re-hang the offending works, which included photos of a fetus barbeque. The opening also attracted the attention of filmmakers Ninon Liotet and Olivier Schulbaum, who included the Reverend in their documentary “Neue Kraft Neues Werk,” which aired on Arte TV in April 2002.

Fetus barbeque? In case you’re not already familiar with the Church of Euthanasia, a little background: Founded by Rev. Korda in 1992 in Boston, the Church now boasts more than 300 official members worldwide, each of whom has taken a lifetime vow to uphold the Church’s one commandment—Thou Shalt Not Procreate—by never having children. The Church’s four “pillars”—Suicide, Abortion, Cannibalism, and Sodomy—are all optional, though sodomy—defined as any form of sex for pleasure, rather than procreation—is “strongly encouraged,” according to the Reverend.

The Church is best known for its public “actions,” such as attacking a sperm bank with a giant penis that squirted white foam, or the “Blindfold Cannibal Taste Test,” in which supermarket customers were blindfolded and asked to compare samples of pork and human meat, while a Church member was turned on a specially constructed rotisserie. The Church frequently interacts with other organizations, for example by attaching themselves to a Catholic “pro-life” demonstration in front of an abortion clinic, and then displaying “Brigitte”—an inflatable sex doll crucified on a cross—along with banners such as “Eat Queer Fetus For Jesus” and “Pedophile Priests For Life.” And of course no pro-life demonstration would be complete without a visit from the gore-splattered “Doctors With Gunshot Wounds.”

More recently, the Church has been busy responding to the events of 9-11. On the three-month anniversary of the attacks, the Church released “I Like To Watch,” a music video that combines 9-11 news footage with hard-core pornography and sports. Asked if this wasn’t going a bit too far, the Reverend one-upped Karlheinz Stockhausen: “I doubt that I'm the only person in the world who derived sexual gratification from watching two of America's tallest buildings being destroyed…The endless replays of the plane penetrating the tower were unmistakably pornographic, complete with flames and debris spurting out in slow motion; even the Washington Post [12/31/2001, Page C1 for you non-believers] referred to the footage as a ‘money shot’ and called it ‘our new porn.’” If you’re not easily offended, you can view the video on the Church’s infamous web site,

And what about the new music? The style is still unmistakably Chris Korda, complete with catchy melodies, spooky harmonies, and maddening polyrythms, but there are noticeable changes. The mid-eighties synths and bombastic verbal assaults are gone, replaced by thick, edgy sounds, and sparse, ambiguous vocals. Asked about these developments, the Reverend says, “On ‘When It Rains’ I’m getting back to my roots: more musical, more soulful, still political, but in a more subtle way.” The thumping title track’s minimalist lyric (“When it rains, the dirt don’t go away”) is a clear example of this understated approach, while the break-beat track “Salt” gently suggests the anti-human perspective (“There are many things in the world, and you are one of them”). The jazzy instrumental “Gridlock”—the title refers to clogged urban intersections—is a real riot track, full of surprises and crescendos, while “May Queen” rounds out the record with monstrous bass and shimmering orchestration.

The Reverend is currently living in Berlin, finishing up a new album, which promises to continue in the direction of “When It Rains.” Many of the unreleased tracks are already cropping up in the Reverend’s set list, so for a taste of things to come, be sure to catch Chris Korda live in concert this summer.

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