Messiah became a favorite on the club/dance charts in 1994 with the sassy single "Temple of Dreams." They were already mainstays in the London acid house scene throughout the early '90s; however, their pulsating decor on 21st Century Jesus escalated into a full-out rave party. It was before the commercial success of Fatboy Slim and the Chemical Brothers, although Moby's underground work from the late '80s would match. The sonic rave heaven captured on this album transcends into a spiraling loop of energetic disco samples ...
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Messiah became a favorite on the club/dance charts in 1994 with the sassy single "Temple of Dreams." They were already mainstays in the London acid house scene throughout the early '90s; however, their pulsating decor on 21st Century Jesus escalated into a full-out rave party. It was before the commercial success of Fatboy Slim and the Chemical Brothers, although Moby's underground work from the late '80s would match. The sonic rave heaven captured on this album transcends into a spiraling loop of energetic disco samples and pulsating techno waves. It's much harder and defining of what was supposed to come of the U.K. techno scene in America, but thankfully it stayed a step ahead. Messiah's 21st Century Jesus exuded raw vigor, and tracks like "There Is No Law" and "Peace and Tranquility" illustrate the impeccable beauty of Messiah's take on dance music of the mid-'90s. The Donna Summer twist of "I Feel Love" is dramatic, but the obnoxious feel to "Creator" soars with throbbing electronic grooves. The Cult's Ian Astbury's brawny guest vocals are hypnotizing and ripped. "Thunderdome" does the same. Messiah paid close attention to the direction found on 21st Century Jesus. It's gutsy and bold, and delightfully arrogant. ~ MacKenzie Wilson, Rovi
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