Killing Joke "Pandemonium" (1994)

Killing Joke have quickly become a favorite band of mine and more so for their first two records than any of the others Ive been making my way through. After the noisy, discordant rock out, slightly metallic "Extremities, Dirt And Various Repressed Emotions" the niche Post-Punk, Industrial Rock outfit took four years to create "Pandemonium" where their influence comes full circle. Having been a notable impact on American Industrial Metal band Ministry, the feedback loop can be heard as the band take a considerable step into the Industrial Metal sound with heavier distortions and a more Metal sense of rhythm, while keeping all that makes them unique and distinguishable.

The records stand out track "Exorcism" marks seven minutes of pounding industrious repetition and heavy guitar crunching under singer Jaz Coleman's theatrical performance of an exorcism, descriptive, practically visual sound effects included. Once again the band execute repetition to perfection on their heaviest track, which bares a strong resemblance to songs like "Just One Fix" and "N.W.O." from Ministry's "ΚΕΦΑΛΗΞΘ" album, slamming the same riff over and over to pummeling, pounding drums. As I'm writing this I can't help but notice the symbols used in the title on the cover art.

Each track is its own beast taking on a distinct sound, "Black Moon" having a dreary vibe reminiscent of "Revelations", "Millennium" with a soaring sing-along chorus that has a typical 90s charm about it and "Whiteout" brings about denser percussion, with more layers and faster hi hats taking on some borderline Drum N Bass influences. The last two tracks trail off with a noticeable drop in production quality. Pandemonium has its impressive moments but comes off as a collection of fair songs kept fresh with the constant shifts in tone and vibe from song to song. With only one stand out track its a record you'll of wanted more from if your aware of what this band is capable of.

Favorite Track: Exorcism

Rating: 5/10

Killing Joke "Revelations" (1982)

It was back in March of this year that I first gave this record a spin. After listening to their debut "Killing Joke" I moved onto their third and found it very difficult to get into this one. A lack of fidelity in the production made it unsuitable for earphones on a windy walk. Months later on my sound system I was able to distinguish a lot more of what was going on but still felt an absence of something important. With much reluctance I have finished listening to what I hope is the worst Killing Joke record, its pretty appalling, gloomy and tinged with Gothic influences.

The band's charm is in the dissonant guitars, mechanical stop start rhythms and singer Jaz Coleman's distinguished voice. On previous records it all came together with atmosphere, drive and meaning to form memorable songs that introduced new ideas and musical approaches in the Post-Punk scene that's had a profound influence on many bands, mainly Metal & Industrial. Going from the snappy rhythm led hook of "Tension" and anthemic dystopian sing along "Follow The Leaders", the band hit an inspirational bankruptcy on "Revelations". Opening with the mediocre track "The Hum" marks the high point for a stale and drab record which quickly drifts into obscurity.

The spark is missing, and it can be felt sorely after the first two tracks as the discordant guitar fails to ignite any atmosphere. Idea after idea, riff after riff falls hard on itself as obvious injections of "unexpected" sounds creep into the tracks with bells and acoustic guitars in the breaks. The drums pound and grind away uninspired rhythms that lack a groove or any chemistry with the guitars. Jaz's wails away in his own style but like the drums just fails to gel with the guitars and we end up with a collection of misfiring songs that drone through a moody and uninspiring setting.

It feels like the band where going for a darker vibe and focusing on the drone of the discord. In doing so they were unable to create anything memorable on a miserable record that felt like leftovers from a demo. I'm trying to be fair, but Its a poor effort with little chemistry and a lack of direction. There is also the absence of any electronics which in retrospect feels like an even bigger part of their sound. Disappointing, but I'm still keen to get through their discography.

Rating: 2/10

Killing Joke "Pylon" (2015)

Thirty five years since their debut, "Killing Joke" are still at it. Their first two records a real pleasure to uncover and hear an early influence on Industrial Metal such as "Ministry" and "Godflesh". Unable to get into their third record "Revelations" I left this band alone and nearly passed this record by when I saw it in my feed. I wasn't expecting anything much but was quite surprised to find their identity intact, mostly thanks to Jaz Coleman's distinctive voice. An apparent shift in aesthetic and execution gives a refreshing overhaul to the vibe and themes that stay very much intact from their roots.

"Pylon" is a warning machine on cruise control, each song swiftly flying through the wasteland of a post apocalyptic world, with social commentaries and observations on the state of our modern society, its direction and corruptions. Its a message of doom and gloom broadcasted from the loudspeakers of a steadily paced set of songs that cruise onward and drone with big, fuzzy chord driven distortion guitars and one dimensional synths that play subtle roles in amplifying the atmosphere. Coleman's anthemic cries of disillusion and unrest tie the music to the lyrical themes with alterations in delivery to match the musical shifts that are present in every song.

Its a simple approach to songwriting coupled with a great aesthetic. The guitars are warm and dense, the drums have a fantastic, punchy, loud yet soft tone. The bass guitar thick, powerful, pounding away under the hazy wall of sound guitars and Coleman's voice is colorful, smooth and darkly. Select keys and electronics play a potent role in adding that extra layer to amplify moments of the songs. The overall mood and tone is definitely on the gloomy side yet when tackled head on by the music feels empowering and uplifting, all without exerting any forceful aggression. An easy flowing listen with a big mood and messages to deliver. Solid record.

Favorite Songs: New Cold War, War On Freedom, Into The Unknown

Rating: 7/10

Killing Joke "Killing Joke" (1980)

Killing Joke's self title debut is one synonymous with its cover, an infamous picture taken amidst a riot in Northern Ireland with the groups name gratified onto the wall. Its an image that comes up a lot in music culture and appreciation. After connecting with their second release "What's THIS for...!" I got into this record quickly which was similar in nature, but less focused on the Industrial / Heavy Metal tones, and remained closer to its Punk influences. It also included the song "The Wait", covered by Metallica on their Garage Days EP recorded with Jason Newstead.

Quiet unexpectedly I found what initially grabbed me on this record to tire more and more with each listen. On this one Killing Joke play closer to the Punk aesthetic, but with some interesting twists, utilizing spacey buzzing synthesizers and morphing vocal effects to give their sound distinction along with the pounding, marching rhythm they play out through repetitious guitar riffs and a chunky bass. Its in the moments were the band deliver the hooks and catchy riffs that it stands strong. "Requiem" and "Complications" drop in with rocking grooves and vocal leads to sing along to. "Wardance" stands aside with its alien vocal musings, the droning mechanical rhythm and subtle drilling sounds draw a close resemblance to "What's THIS for...!", along with "Bloodsport" which follows the mechanical marching rhythm while playing through some "cheesy" sudden synth sounds.

As a whole it delivers a foray of experimental Post-Punk ideas and creativity that despite delivering a couple of classics, feels halfway their in terms of formulating its ideas musically. The lyrical content is more reflective of the albums cover, addressing and commenting on societal behavior concerning war, pollution and the negative sides of societies construct. The daunting themes aren't in-line with overall vibe which changes from track to track with changes in pace, tone and use of instrumentation. My enjoyment was soured a little by the lack of direction and although theres some great music here, its a little scattered and fails to build an engaging atmosphere that retains the excitement.

Favorite Songs: Wardance, The Wait, Complications

Rating: 8/10

Bauhaus "In The Flat Field" (1980)

With a recent exploration into the origins of Gothic Rock, Bauhaus's "In The Flat Field" was one I picked up alongside Christian Death's "Only Theater Of Pain" & The Cure's "Boys Don't Cry". It's a Post-Punk record thats been hailed by musicians as a hugely influential one, making them a "bands band" in some regards. The Post-Punk era is a fascinating one, a time of great potential and innovation. Here we can clearly here the origins of new ideas blooming a sound of gloom and darkness arriving with a distinctive clarity of vision. The expression and musical theatrics feel void of experimentation despite that era indicating you could of labeled it "experimental" at the time. This was the groups debut record and they released another three before disbanding in 1983, leaving a short lived legacy behind them.

The record starts with its most bi-polarizing track, "Dark Entries", which starts the record of with a declining single strum note riff that rings out some chords and shifts octaves in between blazing out the dark riff over and over. Theatrical, moody vocal musing don't detract from rocking feel this track delivers, but its far from what the rest of the record offers. As "Double Dare" starts we get a different feel from the same pallet as a submarine ping introduces distorted, fuzzing guitars into a dark, hopeless atmosphere. The guitars play between crumbling drum rolls that rattle in the absence of the distortion. This goes back and forth as Daniel Ash's vocal theatrics embellish like a performer at a play, exaggerating every word. Quickly a dark and paranoid atmosphere is established and explored as the song descends into itself, heightening with Ash's tempering line "I Dare You", performing the "I" over and over. It paints a powerful image of him parading around a set as he performs.

From that point on the album plays out an hour of theatrics, bold, dramatic, audacious and artistic manipulations of sound explore the doom and gloom through screeching guitars, muzzled electronics and big, tom rattling drums. The bass diversifies itself continually with all sorts of fx pedal manipulation. It sounds terrific for an old record, the space and atmosphere is captured finely without a dated feeling. The group utilized what was available and captured there expression timelessly. I have a lot of admiration for this record, but its not one that gets me especially excited. Perhaps they captured the gloom all to well, as these songs plunge into despair they do so artistically, not manipulating it for bombastic effect, but for the art itself. Every moment is intense and gratifying, but tends to stretch on as only a couple of songs change up the pace. Terrific record, was well and truly worth my time.

Favorite Songs: Double Dare, In The Flat Field, Dive, Stigmata Matyr

Rating: 5/10

Killing Joke "What's THIS for...!" (1981)

Killing Joke are an English Post-Punk band who on this record, as the genre term suggests, are writing music and developing their sound in the Post-Punk era. Looking back on it through records like this and many others in the early 80s, it was an interesting time where the DIY punk approach had opened the doors for aspiring musicians to find audiences on a smaller scale outside the mainstream, the result is a foray artsy punk records, laying down ideas that would develop into Alternative, Industrial and Gothic Rock in the coming years. After enjoying there 1990 release "Extremities, Dirt And Various Repressed Emotions" I decided to head back to their second album purely for its title track "The Fall Of Because", which by no coincidence is the original name of Industrial Metal legends Godflesh.

Listening with the intent of hearing what inspired Godlfesh to create such a monolithic sound, I could instantly hear what it was this album offered. Through a Punk aesthetic Killing Joke take an entirely different approach to songwriting, turning most the norms on its side and rebelling against most the ideals laid down by the Punk movement. The band create big drawing atmospheres by slowing down the tempo, pounding tribal, repetitive percussion that most notably makes almost no use of symbols, and a very quiet hi-hat. The bass chugs and thuds under the discordant guitars that riff out an unconventional style, making great use of noisy chords and striping out any melodic leads or hooks. It drones and hums through repetitious riffs that contribute to an almighty sound thats desolate and baron, yet full of energy and culture, Coleman's roomy shouts further capturing this unity of separation.

The album is varied within its concept, alongside some moodier tracks the group deliver some classic tunes, "Tension" & "Follow The Leaders", with a fantastic sense of rhythm you can clap and move along to, the second of which uses some subtle synthesizer elements, including a high pitch string and shaky tonal noises that subtly add a lot to the song. A few other track utilize some electronic sounds that really do give this album an extra dimension. I wonder if it was noticed much at the time considering the emergence of electronic instruments as a result of Kraftwerk's experimentation. The album sounds great, its got character and holds up well today. Terrific album, one which I think will grow on me with time.

Favorite Songs: Tension, Butcher, Follow The Leaders, Madness

Rating: 8/10

The Cure "Boys Don't Cry" (1980)

I've been aware of English Goth Rock group "The Cure" and their influential status for a long long time, but Id never given them a listen until recently. I can't count just how many times I've listened to this record, but essentially I have held of from talking about it in search of a deeper understanding of this record and it's importance. Nothing profound has really come to mind, I just found this record to be a simple pleasure, a light and relaxed listen that had a fluency and ease about it that made each song as enjoyable as the last. Maybe thats the beauty of it? In the age of cerebral, introverted extreme music we can loose touch with the pleasures of melodics and simplicity.

Boys Don't Cry is a warm, spacious Post-Punk record that has a tinge of moodiness to it that would later blossom into a Goth Rock aspect of their sound. On this one, the trio stroll through 12 short numbers that create an uplifting and mindful feeling through a minimalist and toned down sound that greatly appreciates the space between the instruments. The kit is soft, the bass kick is padded, the snare devoid of any snap or punch, and the symbols are quiet and low in the mix. The bass lines rock a steady groove, providing a backbone for these songs which Smith's guitars compliment at their own pace, the trio don't overpower there own ideas by trying to give all the instruments something to do at the same time, on certain tracks and moments the bass and drums rock together quietly with Smith's musings, and the absence of guitars works in their favor.

The guitars bring in the most colorful aspect of sound, cleanly strum chords are tinged with flange for a tone that has an exotic touch. Its a splash of color into an otherwise tamed sound. Smith's vocals are enjoyable, I like his strong accent and afflictions, they are the final component of what gives this record a pleasant and warm approachable sound. As I said earlier, I didn't find anything profound about this critically acclaimed record, but its a simple pleasure I can listen to over and over.

Favorite Tracks: Boys Don't Cry, Accuracy, Jumping Someone Else's Train, Killing An Arab, Three Imaginary Boys

Rating: 7/10

Christian Death "Only Theater Of Pain" (1982)

I came across this album during some casual browsing, praised as the first Gothic Rock album I figured its something I should give a listen. My understanding of Gothic music is limited, so the accuracy of that statement is beyond my knowledge, but this certainly struck me as an overtly Gothic and "out there" record considering the time. The stark album cover is certainly attention grabbing, and the ghoulish yellow font could be an early source of inspiration for many Extreme Metal bands who in the coming years would take a similar path with their logos. And with all that said, Christian Death are a four piece outfit from California, and this is there debut album.

With the sound of church bells opening this album, the group set their Gothic tone quickly as the drums bring in a beat for dreary, mournful guitars to build an eerie atmosphere of pain and suffering through some rather genius flange overdriven leads that gel with a strong, warm bass presence thats participation in the forefront fills a space left by the guitar leads that go of on noisy, emotive tangents in between the core riffs. The chemistry is strong between the two and provides moody Gothic instrumentals for Rozz Williams's vocals which are a point of interest. Flamboyant and dramatic, Rozz's delivery is driving with a slight touch of whine. Its a hard one to describe, but its a love / hate style and one that defines a lot about this album. The lyrical content is introspective, emotional and romanticized with some dark and occult overtones through vivid use of language. 

The aesthetic and theme of this album is spot on, but the execution is disappointing. When doing it right the songs are dramatic, dauntless and absorbing, but more often than not the songs wander off into uninspiring and self indulged tangents that fail to offer anything to get excited about. These weaker songs were frequent and made the listen somewhat of a drag, but for what it does right I will find myself revisiting this one to hear the better numbers.

Favorite Tracks: Cavity, Figurative Theater, Romeo's Distress, Deathwish

Rating: 5/10

Killing Joke "Extremities, Dirt And Various Repressed Emotions" (1990)

I have been enjoying my recent foray into Industrial music, and Killing Joke was a group not so appealing at first, but i am glad i stuck with it as this album has grown on me tremendously. Killing Joke are a Post-Punk group from Noting Hill who through the 80's released many albums that incorporated some Gothic and New Wave elements to their sound. Extremities is the groups ninth album and one i chose to listen to for the cited Industrial influences the band had brought to their sound. With little experience of there previous works i got to listen to this record from a neutral perspective.

Extremities is drenched in nostalgia through guitars that bring forth a big sound, distortion characterized by flanged overtones mold a big presence in these tracks. The riffs, either simple or complex are given a big boost by this sound which remains a strong point for this record from start to end. Killing Joke utilize a variety of riffs across this one, often lending to progression and atmosphere but at times breaking out some rock sensibility and memorable riffage that stands out from the hazy flanged noise the guitars ooze. There presence feels paramount but there is more on offer.

The drumming is solid, nothing that stands out but it doesn't do any harm, its always in tune with the music. The bass is solid, its presence is strong on most tracks but occasionally gets a little lost under the big guitars, on occasions bringing a lovely overdriven tone I wish would have featured more often. The vocals being very British were a little stark on first listen and felt slightly contrasting, however with familiarity comes acceptance. Alongside these elements there is definitely some electronic presences with the occasion tracks brining in some subtle scratching sounds at extra details if you listen carefully. And some synth leads are there t0o, mixed to bleed with the guitars. Overall a great listen. Lots of good songs but I especially liked the mix, it has a lot of character and lets the instruments work together to build some noisy atmospheres.

Favorite Tracks: Money Is Not Our God, The Beautiful Dead, Solitude, North Of The Border

Rating: 5/10