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

Ministry "ΚΕΦΑΛΗΞΘ" (1992)

ΚΕΦΑΛΗΞΘ marks the peak of Industrial Metal legends Ministry's commercial success as well as the musical peak for this classic era their sound with future records steering from the mood and tone of this social-politically charged sound of disillusion and despair with the status quo. Marked by the opening track "New World Order", Ministry create the soundtrack for riot and civil unrest through their mechanically repetitive song constructs of robotic guitar riffs and dystopian guitar leads. It had been many years since I gave this record a listen and hearing a feedback of influence in Killing Joke's "Pandemonium" I had to give it a spin again.

The record starts with two of Ministry's finest songs and sets a contagious attitude of outrage and anger that fuels the experience. Tightly performed distortion riffs churn over and over in a sublime execution of minimalism and repetition that never seems to loose its drive, despite mainly consisting of the same thing over and over, it gets me every time. Paul Barker's machine like drumming goes heavy on the snare with simplistic, pounding grooves that gel with the guitars and amplify there aggression. "Just One Fix" ends with a lead guitar playing a Slayer-esq dark lead that is a favorite moment on the record. Unfortunately from this point forward the album fails to maintain the mood established and only "Scare Crow" comes close with a slow and daunting atmosphere of dread with distortion chords ringing out under haunting leads and Al Jourgensen's eerie screams.

Around these songs a wild inconsistency of ideas obvious in execution make up the rest of the track listing, the fast relentless blasting of "TV II", Thrash Metal riffage of "Hero" or depraved noise horror of "Grace", each songs idea drifts to far from the original tone. Although the recurring use of sampling and mood has some consistency, the guitars input greatly different ideas to that of the opening tracks and are not particularly remarkable in their own right. As a collection of songs they are impressive but out of place with one another and so as an album it really falls short of amounting to anything as the shifts in mood, tone and sometimes aesthetic dispel the magic and potential this one shows in the beginning.

Favorite Songs: N.W.O, Just One Fix, Scare Crow

Rating: 5/10

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

Marilyn Manson "The Golden Age Of Grotesque" (2003)

It took me some time to get around to this record, having got into Manson's music last year I started with the classic "Trinity" of records and my research and reading into Manson's career indicated this was the record where he "fell off" and things started to change. I finally gave it a spin and instantly enjoyed it, having now thoroughly enjoyed this record I can certainly hear its weak points but am a little mystified as to why this album wasn't received well by critics. Its everything Manson is about, orchestrated like a finely tuned weapon of blasphemy aimed at the masses, covered in glossy a deceptively approachable listen.

The record kicks off with "This Is The New Shit", a song that gives you a belly full of what the albums tone and context will be. Making a mockery of trends and pop culture through defining itself as the "next thing", Manson executes a very direct approach that gets straight to the point, at times it works great and in others the lack of depth or obscurity in the lyrics does leave much to be desired. "This isn't music, and were not a band, were five middle fingers on a mother fucking hand" from "Vodevil", the records best lyric of this style, a very blunt and aggressive statement that hits hard, unfortunately these moments are just a handful.

Aesthetically the album is ripe and potent, an infectious noisy production with fantastic distortion on the guitars that feel overdriven to hell, yet have a crisp, sharp, razor blade tone that transforms some rocking riffs into full on head banging, moshing monster riffs. The guitars are not the sole focus though, theres plenty of space for them to drop out and give a range of electronic noises and drum machines to create paranoid, dark atmospheres along with bass lines that step up the tone and distortion and make themselves an important part of many of the albums tracks. The writing is catchy and heavy on the hooks which dominate the songs, so much so, many of the tracks lack a bit of variety and depth where they repeat with the same hooks.

The album flows really well, mixing up the more aggressive numbers between the peculiar, outlandish atmospheres and style this record broods in Manson's artsy moments. The song "Para-Noir" captures the records best qualities, creating a menacing atmosphere with Dita Von Tease's domineering taunts brooding and provoking a driven response from Manson as the record explodes with ever powerful guitar riffs. The album does fizzle out with a cover of "Tainted Love" I've never enjoyed, followed by a carnival of horrors track and another atmosphere driven song that doesn't excite much, the record could of ended on a high with "Vodevil" for me. Overall its a vibrant, blasphemous rock and roll record of unforgiving attitude that has some obviously flaws but Manson clearly did exactly what he set out to do with this one.

Favorite Songs: This Is The New Shit, Mobscene, (S)Aint, Slutgarden, Para-Noir, Vodevil
Rating: 7/10

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

Foetus "Gash" (1995)

Starting from zero, the opening track "Mortgage" slowly progresses through a grudging beat that pounds as pounds as instruments and abstract sounds pile into the mix one by one. Narrated by musician J.G.Thirlwell the song evolves into a noisy, dissident dystopia of sound colliding together with strange harmony and balance. Its says much of this experimental record which juxtaposes all sort of musical styles with the ever-present noisy Industrial backbone in a chaotic fold of sound. Foetus is the main project of aforementioned Australian Experimental musician  J.G.Thirlwell who has built a large body of unique music over the years, under multiple pseudonyms. As well as developing connections with some prolific artists in the 90s, his own work has never seen much commercial success or critical acclaim but has certainly carved him a niche that sees him active to this day. "Gash" serves to be his biggest record, the only one to ever make a release on a major record label, Sony, who can be seen on the album cover, possibly intentional.

A lot of what is established in the first track is elaborated on throughout the album, noisy, Industrial tracks with a less intensive focus or vibe. Underneath the hard shell the guitars play out some Rock / Metal like riffs with minimal intensity, they often compliment leads and melodies brought in an array of instruments and styles that seem to consistently pull from different sources track to track. After moments of intense noise abuse, and eerie synths the album finds its way to a Swing / Big Band number "Slung", its jiving swing leads and clamorous undertone meld and stroll into a lengthy jam fest that returns to the main theme across eleven minutes. The track that follows couldn't find itself further away, a screeching, dark number. Thirlwell's vocal performance give this snarling shock rock track a Manson vibe. The bizarreness continues as a Classical, theatrical war like composition leads us into a quite genius dramatic piece that utilizes the progression of its noisy oddities with a peaking string number. Its an album of surprises and experimentation that doesn't fail to get your attention.

With the good often comes some bad, and this record would tip the scales in the wrong direction with its production which served to really hurt its potential to be great. This album is also produced by Thirlwell who's worked with big names before, but here on his own record his production style has held back everything great thats at work. I've listened to my fair share of Avant-Guard, genre blending music, and more so than often the unusual ideas presented need to be complimented by decent production. The guitars on this record are muddy, foggy and loose their impact in this messy production which fails to facilitate the needs of each instrument. The drums are thin and flat, the bass is a low fuzzy growl that occasionally gets noticed for something other than a loud rumbling, and for all of the extra instrumentation that comes and goes, none of it comes into the mix without clashing with something. Noise may be an important aesthetic here, but it can come from the layers of strange noises and instruments without clashing. With so much going on in the same space the low fidelity makes it difficult to absorb without focus and effort. Track after track throws down fantastic ideas, riffs and leads that are buried amongst one another and serve to suck the moment dry with lackluster fidelity. Its been a while since I've heard a record so hurt by production, but its a reminder that good musical ideas are not everything.

Rating: 5/10

Favorite Tracks: Mortgage, Mighty Whity, Slung, Steal Your Life Away, Mutapump

The Young Gods "TV Sky" (1992)

The Young Gods are an Industrial Rock group from Switzerland formed in the mid 80s. Hailed as a "bands band" TYGs have been sited as a significant influence on many popular Industrial acts, including Nine Inch Nails. "TV Sky" is their third record, and for me its another piece of the Industrial puzzle I have been fascinated with in recent years. As a kid I had been over exposed to Industrial music through endless listening of Frank Klepacki's C&C soundtracks in the mid 90s, and every band I discover and listen to feels like a piece of the tapestry unraveling itself.

"TV Sky" is a lofty record with a mechanized pace that cruises through a laborious and desolate landscape. With every listen an image of a hover-car speeding through a derelict city consumed by a barren desert races through my mind, you can smell the oil in the blistering heat. This wild and vivid sound is consistent throughout the record of 8 tracks, 7 of which make up a shorter 28 minutes before the album rains out with a 19 minute saga. The repetitive and pounding nature of this record is complimented by Franz Muse's gruff, drawn vocals that grind out, adding the human touch, but always at the mercy of the industrious mechanical instrumentals, its a nice chemistry and his strong Swiss accent ads a touch of foreign into the mix.

The instrumentals are king on this record, forging a soundscape epitome of its fraction in the Industrial sound. Sharp, robotic guitars play out mechanical stop start riffs in unison with the gritty pounding drums that stamp out rigid rhythms. Grooving underneath the surface is that classic bold, warm and chunky Industrial bass guitar, always a welcome element. With the core of their sound down, TYGs bring their uniqueness through some sudden and dense electronics that burst into these songs, a lot of the complimentary sounds tend to burst in quick as they fade out, which subtly ads to the vibe through an "on/off" switch like execution. Additional guitars waver in and out of focus with noisy abstract guitar sounds and distortions, deepening the rich atmosphere this record offers. Its a casual listening experience that doesn't demand much of the listener, it pounds away like a ride you can hop on or off at any point. The easy pace and purely rhythmic approach gives it a touch of ambiance that makes it an easy record to absorb.

Favorite Track: TV Sky

Rating: 6/10

Marilyn Manson "The Pale Emperor" (2015)

Its time for our first record of 2015! And I've been listening to it since 2014, when it leaked onto the Internet. Its still not released, but available for streaming, and I've held of from talking about it, but soon I will own this fine record that may just be Manson's finest hour. "The Pale Emperor" on first listen was a great listen that was rather unexpected considering the impression I gathered that Manson had "fallen off" since his classic trinity of records. Having thoroughly enjoyed them recently, this record didn't feel to far from where "Holywood" left off, but had an obvious progression and maturity to it. Gone are the bold and contentious statements that shock some and excite others. On this record Manson turns inwards for inspiration, and the pains and hardships of being him, it is reflective of the overall mood of the album with only "Deep Six" hitting that harder Rock/Metal vibe Manson does with a urgent sense of style on previous records.

It's a calmer record thats theatrical, intelligent, with a subtle grandiose to it. The band instrumentally focus less on hooks, and craft matured songs with no cheap thrills, yielding a rockier vibe that sees the Industrial element of their sound quiet influence of past. Manson is in his artistic vision as always, but his chemistry with the group is spot on, the track "Birds Of Hell Awaiting" for example, Manson's performance is free and audacious, it carries the dreary, mechanical instrumental along and together they climax the song with a boisterous flamboyancy. Its a high point in a charactered group of songs that are crafted through a subtle arrangement of instrumentation that is varied and lead by some fantastic guitar work that appreciates where and when to bring the energy, and where to decorate the instrumentals with calmer energies. The record's calmer nature was reinforced by the dismissal of a drum machine and the inclusion of Sharone, formally of Dillinger Escape Plan. In the moment they could provide the classic Manson fist pounding rhythm to get your noggin bobbin, as well as structuring the theatrical nature of these tracks.

Manson as always is a huge part of these record, his presence here was commanding as ever, and even when showing his weaknesses he stays in the music and turns his anguish into an exhilarating performance. Its a sign of maturity that his artistic vision can change and retain the best of his performance. As touched on a couple of times, this album is openly personal and introspective, more so than the observational and instigating nature to poke at establishments and ideals in controversial fashion. Even with a shift in focus Manson delivers those classic lines that stick in the mind, twirling thoughts of intrigue. "At least I know, wherever I go, I got the devil beneath my feet" and "Were killing strangers so we don't kill the ones that we love". I've listened to this record countless times, its stuck in my mind and I have enjoyed it through and through. I feel like its a record that has a lot to offer, and will continue to do so. Its theatrical presentation, mature delivery, and depth of theme are true strengths that challenge this as their best artistic output to date.

Favorite Tracks : Third Day Of A Seven Day Binge, The Mephistopheles Of Los Angeles, Slave Only Dreams To Be King, Birds Of Hell Awaiting

Rating: 7/10

KMFDM "Our Time Will Come" (2014)

German Industrial Rockers KMFDM have been going strong for over three decades. This, their 19th album, is another in a steady stream of records the band have been producing since 1984. In the 80s the group were producing Industrial music with tinges of Rock and Dance, but it was in the early 90s that they found their mainstream success through an evolution in their sound that would steer them in the Industrial Metal direction. Over the last 10 years KMFDM have matured and fine tuned their sound to a science. The group are immediately identifiable with their own breed of Industrial Metal that incorporates intrepid electronic elements reminiscent of EBM, Aggrotech and Dark Electro. Its a pulsating, energized sound. The icing on the cake is the eccentric militant feel brought across through pounding rhythms and rough German accents. Its a sound I enjoy, and I got a good dose of this record which to no surprise didn't stray far from the sound thats been strongly established in their recent history.

"Our Time Will Come" outlines a theme across these 10 songs that is clearly represented on the cover art, which follows the usual format for this band. Songs of taking power, revolution, workers unity and seeing past propaganda are expressed here in a variety of militant ways, even with some quirkier lines, "I will punch you in your head, until you say I respect you". A lot of the points raised are not news to me, but are expressed in a direct and forceful manor thats positive and inspiring. The theme works great alongside their pounding Industrial Metal sound, a good match.

From a technical perspective the production is quite masterful. An audible execution of bold, strong instruments and sounds working side by side effortlessly. Theres plenty of room for all sorts of quirky electronic sounds alongside aggressive leads, pounding industrial drums and jolty distorted guitars. The album as a whole has a fantastic balance between the electronic and metal elements that give each of the songs a flexibility to execute different ideas within their sound, without detracting from the continuity of the record. These tracks are well written, and decorated with electronic sounds that become momentary leads in the moments the guitars drop out. It worked well as a whole and was another welcome dose of the KMFDM sound.

Favorite Tracks: Salvation, Blood VS Money, Get The Tongue Wet

Rating: 5/10

Marilyn Manson "Mechanical Animals" (1998)

Having highly enjoyed Manson's breakthrough album "Antichrist Superstar" I was initially skeptical about their other releases which fell far behind the commercial success of Antichrist. I was quickly reminded that sales are no indication of the content as this album quickly grabbed my attention and took me on a ride, before i knew it i was hooked. My preconceptions were shattered and what initially struck me about this album has become very clear after several spins.

On this record the band as a whole move in a much more focused and expressive direction with Manson stepping up his game vocally, his presence is stronger and lyrically his poetry hits home hard with some deep messages and ideas. A couple of moments stuck in my mind, on the track "Coma White" he expresses a sorrowful message about self destructive personalities through an unforgeable chorus "A pill to make you numb, a pill to make you dumb...." its a dark realization delivered in a sing along format that ends the album on a emotional deep. On the track "Mechanical Animals" Manson chimes in beautifully with the soaring guitar riff in a heart in mouth moment. Across these songs his artistic expression is deep and meaningful, delivered with more sensibility.

Instrumentally the band are right behind him, moving the direction away from the metallic Industrial sound, more towards an Alternative Metal / Rock sound with the Industrial element paining intricate sounds and details along side the core instruments. At times the songwriting is pure class, forging charactered songs that compliment Manson well. For example "The Dope Show" has a brooding base line that builds a shady atmosphere with some unusual synthetic sounds, painting a vivid picture in the listeners mind. Theres a lot to talk about as many of these songs have great creativity in the instrumentals. Production wise everything sounds fantastic, in general i was blown away by this album and looking forward to Holy Wood.

Favorite Songs: The Dope Show, Mechanical Animals, Disassociative, User Friendly, Coma White

Rating: 7/10

Marilyn Manson "Antichrist Superstar" (1996)

In my youth Manson was a popular and controversial figure who's music I never really gave a go. I'm unsure as to why his genius never appealed to me then, but having recently watched some documentaries about his music I've learned hes a very intelligent and articulate person. Understanding a little more about the person behind the peculiar self imagery has really opened the door for me and i decided to start with the album that transformed him into a sensation. This being the bands second full length rocketed into the charts upon its release and has remained as their best selling album by far.

The album as a whole has is an artistic and creative expression packaged into a metalic, rockable sound layered with an Industrial aesthetic that give this one a unique and instantly identifiable sound. Manson's presences in these songs is poetic, through his somewhat unexceptional voice hes engages my attention with many thought provoking lines delivered with emotion and intent. Manson is almost self prophetic, with many lyrics retaining to being a controversial figure of hate that he became on the albums release. These lyrical statements often reflect whats wrong with societal values and they are delivered with a cunning artistic expression. One of the more comical lines has stuck in my mind "I wasn't born with enough middle fingers", we have all had days like that. Theres a lot to relate to on this record if you have an alternative perspective of humanity and society.

Manson's poetic presence maybe stealing the show but the instrumentals are worthy of merit too, across the record theres a lot of variety in instrumentation and flavor as the songs drift from rock head bangers to moody movers. The instrumentals keep a strong feeling together despite offering some decent variety with electronic leads shifting focus with the crunchy guitar tones. Theres lots of detailed sounds and noises adding depth to all these tracks and the rhythm section is refreshing, offering some more inventive and unexpected patterns utilizing a large pallet of sounds from an industrial themed drum machine. It all comes together so well, this album is devoid of filler with most the tracks bringing memorable beats, riffs, melodies and lyrics. I now see what the fuss is about and I'm excited to listen to more!

Favorite Songs: Torniquiet, Little Horn, Deformography, Angel With The Scabbed Wings, The Reflecting God

Rating: 8/10

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