Killing Joke "Lord Of Chaos" (2022)

Its been seven years since the mighty Pylon. Now forty plus years deep into their career, Killing Joke deliver two new songs on a four track EP boosted by a couple of disposable remixes. Although enjoyable for a fan, there is little new hear to be heard. Title track Lord Of Chaos is the grittier of the two Its rumbling textural base guitar throws back to the aesthetics of their early days. Its a typical exchange of meaty groove and dystopian atmosphere they have done over and over at this point.

The second track Total also stems from their 80s output. This one is moodier, with its nightly unease tone drawing from eerie synths when the guitars drop out. When they come back in its with an almighty roaring momentum. Jaz's singing reminds me of their Night Time album. Point being, its good but all has been head before.

The Big Buzz remix brings 90s electronic club music vibes to the Pylon song. Its reasonable but the bass kick thud is rather incessant. Delete In Dub pushes a Drumstep beat through a loose fitting of sound experiments and disjointed noises. It amounts to very little with Jaz's occasional voice the only thing tying it to the band. Ultimately, these two add a little fluff to new music that lacks any originality.

Rating: 2/10

Killing Joke "Hosannas From The Basement Of Hell" (2006)

 

With a new year comes a ritualistic return to the extensive discography of Killing Joke, a band I've been exploring since this earliest days of this music blog. These English Post-Punk emergents have had a massive influence on the shape of Industrial Rock and Metal to come, Ministry being a keen sample of their ideas propagating to new frontiers. Once finding myself burned out, its now quite a pleasure to return to their particular sound with a new set of songs periodically. This one might be a new favorite in the collection. Released in 2006, it reminds me of my Download Festival poster from that year. They headlined the third stage and given all the cracking shows I've seen over the years in the top spot of the smaller stage. I often wonder what the was like? Sadly I didn't investigate their music until many years later, that's when I noticed they played on that legendary year, my first and unforgettable outing at Donnington!

 Hosannas From The Basement Of Hell is possibly the bands most engulfing feet yet. Riding on a backbone of pounding repetition and dense aggression, the aesthetic crushing of its gristly guitar distortions, beefy percussive strikes and Coleman's aged throaty shouts, caries the music into a hypnotic dimension. With a cold mechanical drive these songs drone with an unshakable pace on lengthy escapades that chew through its crammed assembly of instruments. Often with gusto in its step, the drums pound simple grooves as the guitars roar with uncompromising attitude, chopping up tight chugs and aesthetic marvels of discordant noise and pedal effects. Jaz tends to draw his vocals out, giving a little relief to the unfaltering march each instrumental sets out on. Its a strange chemistry to have two aggressive forces, playing one as relief.

Its fortunate that one can zone out a little with this record. The songs do churn a handful of ideas over and over in the meat grinder. Its atmospheric. Killing Joke have brought a curated collusion of their finest ideas to revel in the moment. If you have got the time, its a pleasure to go through. Every song comes with its own little spice. Invocation stands out for a superb integration of menacing Classical symphonics vaguely reminiscent of Kashmir. Majestic has a riff that gives me chills. The tone and progression almost sounds like a sample from a T.S.O.L. song. Walking With Gods unearths an obnoxious angular guitar noise to ride alongside the massive bass guitar, somehow finding a melodic crescendo to peak the synthetic oddities that arise.

I could go on. The point being each song has a strong intention and musical idea the band hammer out with this intense drive festering in the palm of their hands. The production aids it greatly. 2006 was a time where the loudness wars and wall of sound production still hadn't settled. Records from this era vary in quality and I feel like this was a looser, jostled production that actually aided the final result. A little low fidelity can often suit an agressive direction. Ive read that album is considered a creative peak for the band. If the next two records are not up to scratch, that is fine. Im happy to have found this one. If forced to make a list, Id put it somewhere near the top.

Rating: 8/10

Killing Joke "Killing Joke" (2003)

 
One of our first musical journeys of old is that of Killing Joke, which remains unfinished having gotten a little tiring wading through their lengthy and varied discography. The group split after Democracy and then seven years later reunited for this second self titled record which resembles some of the excellence displayed on the most recent Pylon. I was aware of its legend, having brought Dave Grohl of Nirvana onboard to play drums. The two bands historically had a record label dispute over the resemblance of Come As You Are to Eighties. If I remember the story, that have Dave actually discovered Killing Joke, becoming a big fan and offering his services here.

This second self titled offering is a concise construct of crunching distortion guitars and battering drums led by front man Jaz Coleman's commanding presences. He shapes the musics angular, aggressive tone to fit his dystopian mold of political corruption and corporate influence leading us down a path of total control. Practically every song reaches into this topicality, criticizing institutional powers and delving into paranoid, conspiratorial takes on world events. A lot of it is agreeable and some steps a little beyond my own personal acceptance but as an artistic expression the instrumentals illuminate his stance.  Much of it has aged well but a few over reaching tracks like Implant inferring control through DNA and micro chip insertion sound outlandish. Then again we all walk around with personal portable tracking devices in our pockets and most people whimsically send of blood samples to data broker firms in the guise of learning about heritage as well as health.

This theme is one I engage with, it gets me thinking where lyrics are not usually not a key focal point for me, It was nice to have that dimension bring challenge. The instrumentals behind them vary song to song but are for the most part excellent. Blood On Your Hands out stands out as an exemplary song. Brooding Industrial drives of hypnotic force erupts into cyclical intensity as high lead guitar noise wails over looping bass lines. Its the typical affair, big slabs of crunchy sound droning in repetition with verse chorus shifts between riffs. Lots of meaty palm mute chugging rhythms counterpart to expansive guitar constructs that pivot from the mechanical drive into atmospheric plunges. Its pretty much the best of what this band have done over the years rolled up into a new package. Not entirely persuasive if not in the right mood but certainly an impressive comeback record!

Rating: 7/10

Killing Joke "Democracy" (1996)

Having spent time routing through old posts, writing up my favorite records of 2017, I am reminded of a few artists who discographies Ive been getting through on this blog but yet to make It over the finish line. Killing Joke's 10th record Democracy is the next in sequence and their final release before a temporary split leading to a lasting reunion seven years later. With the bands identity so ingrained in my mind its been hard to get into this record, simply because its not as unexpected or challenging as those classic early records. That being said Democracy is a solid record with firm theme and consistent tone that fully realizes its own vision.

Moving on from the metallic Pandemonium, Killing Joke trade in the tight and cleaner production for a denser, noisy affair more in turn with Extremites... Its loud, muddy and flavored by the smothering dissonance of layered guitars. Commanded by singer Jaz's dominant personality, he affronts the establishment, crying out at the facade of democracy and its influencers, criticizing the dull reality that a working class dream is of a paid mortgage. Its bleak and moody perspective on the follies of modern man are parallel to its foggy tone as big, mammoth wailing guitars plunder through the marching, pounding Industrial drive of drummer Dugmore.

Light electronics and occasional use of flange and phasers add some texture to the fold but it mostly goes through the motions with unchanging pace. The intensity varies from track to track but as the record stretches on it becomes somewhat monotone given its singular direction and droning nature. A lack of event or evolution holds it back but then that's never been the Killing Joke way, they once again home in on a feeling and grind it down in their Post-Punk alike noise guitars and churning Industrial pace. It ends up being a rather average album with a couple of more favorable songs.

Favorite Tracks: Prozac People, Aeon, Pilgrimage

Rating: 5/10

Killing Joke "Brighter Than A Thousand Suns" (1986)

Ive been chipping away at the Killing Joke discography for some time, their first two records "Killing Joke" and "Whats THIS for...!" were really something but the rest of what Ive heard hasn't been quite as unique or interesting. I last listened to "Outside The Gate", their most poorly received record but one I thought wasn't all to terrible, it had a couple of memorable, catchy songs on it. I actually skipped a beat there, missing this record which ironically feels more like a solo effort from front man Jaz Coleman who's face dominates the albums cover. The negativity surrounding the band at the time seems to revolve around the shifts in style but listening thirty years later its seemingly irrelevant.

Guitar distortions and aggression are almost non existent, the guitars, mostly overdriven, are jamming away in the distance, drifting through melancholy riffs in a wash of hazy reverb that vibes with the synths. Jaz's electronics are eerie keys with an astral quality about them, they take much of the melodic lead and usually the guitars are following them, adding texture and density to the simple synth lines. The drums are rather punchy and active with solid tones however in the mix the are rightly quiet and keep pace rather than make a big impact on the songs. The bass lines are a key component of groove, big and bold the rest in the forefront jamming to their own tune that ties the drums to the guitars and keys. Rising above it all is Jaz's voice who flexes the soft yet powerful side of his range. The instrumental sets the tone, building the atmosphere for Jaz to take the stage. With some soft reverb he shows his talent however as always the lyrics generally pass me by. Its an agreeable chemistry but as it stretches on through its hour run time a limitation arises without a flexibility to his approach on each song. The songs two are rather simple and their is no grandiose ideas at work, just variations on the same aesthetic.

Its still got that distinct Killing Joke vibe, but far more New Wave, and with a tinge of Gothic residing in its moody, slightly gloomy exterior. Two tracks in the middle stick out, breaking the established formula and stripping back the guitars for the synths to take lead. "A Southern Sky" has a memorable hook "Death on the hills, into the forest" and "Victory" has a much perkier, upbeat feel with a jovial base making itself known. They feel different and slightly more pop than the rest of the record, at one hour it probably could of dropped these songs off but that's just my opinion since they feel so out of place to me. Overall its a reasonable record, enjoyable in its moment but not much sticks in the mind about it. Its something for a particular mood, just a mood I'm rarely in.

Rating: 5/10

Killing Joke "Outside The Gate" (1988)

Continuing our journey through the fifteen full length Killing Joke albums we arrive at their seventh and undoubtedly their worst received record by both critics and their fan base. The group made a stylistic shift towards the once trending Synthpop sound without any form of subtlety. Having wrapped my head around it I see the negativity as a reaction to what was probably perceived as trend hoping, however being from the distant and mysterious future there is little offense I can take as its no longer relevant. That doesn't let it off the hook though, their are some jarring, rigid and unfortunate moments where it doesn't work, equally some great moments too. The opening track "America" is a fantastic example of good pop song writing, with a hook and catchy chorus. Its cynical lyrics and unsettling, gleaming synths reinforcing underlining the dark, observational message.

The rhythmic identity and tonal guitars are all but absent on this record and its a key part of what defines them, or once did. Equally singer Jaz Coleman steps further outside his normality and flexes his vocals, showing his ability, range and the charm his softer side has, similar to on "Love Like Blood". It sound stunning on the second track when accompanied by lush chorus pedal guitar strumming and can sound equally fluky on "Stay One Jump Ahead" where they play out Synthpop cliches. The records problem is in the rigidity between their natural instincts and the Synthpop characteristics they emulate. There is a couple moments where its awful, mostly mediocre but between them they always drift towards the moody, brooding atmospheres which having a rich set of synths and decent production value sound glorious in their moments, however theirs only a few tracks that hit that mark.

For me that's the record in a nutshell. Its best moments come from the bands leanings to their unique sound and the worst from pop cliches and "moments" in songs you've heard other bands do. It does however not deserve the flack it received in my opinion, the chirpier synth added a welcome dimension when executed with inspiration and it yielded a couple of fantastic songs. Whats interesting is this shift came years after the scenes apparent decline. I'm doubtful the motivation was to scene hop, maybe just to explore an interest in a sound than played out alongside their best years.

Favorite Songs: America, My Love Of This Land, Unto The Ends Of The Earth

Rating: 5/10

Killing Joke "Night Time" (1985)

Its the fifth record of our beloved Killing Joke, the niche Post-Punk, Industrial Rock band of the 80s and an expected return to form considering it produced two of their best songs. Following a duo of unfavorable records its great to hear the group back on track but this time in a new and refined direction. "Night Time" tones down the aggression and Industrial accent, dialing down the loud, smothering distortion guitars in favor of a more spacious sound that still retains distinctive qualities of the identity they created for themselves but with a more accessible sensibility.

Singer Jaz Coleman may be the one exception, shifting his style to a significantly softer, resonate delivery, melodic and bolder. He still retains his voice, but in moments sound like other singers of the era. Behind him the lightly distorted guitars emphasize on strung out chords plucked into atmospheric reverbs. They often drop out for quiet and thin synths to eerily drone in the distance. For the most part the drums and bass chime with one another, rhythmically clattering away through short jolting grooves that pound away, repeating over and over.

It works! And with better clarity from the production, the nosier moments don't cloud the listener. There is room to breathe and the bass's tone keeps it right in the front of the record, grooving away with a thick, vibrant tone. Song structures are nothing to marvel and if it wasn't for the two spectacular tracks there isn't to much going on. Its a record of moody vibes that sets its timbre and rolls with it through a soundtrack of cold concrete and rainy days. It elevates itself to inspired heights with "Love Like Blood" and the albums closer breaks to what feels like a different record altogether. With a different aesthetic, hard hitting drum pedal, "Eighties" ends on an upbeat note with a party, sing along track to pump your fist to.

Favorite Songs: Love Like Blood, Eighties

Rating: 7/10

Killing Joke "Fire Dances" (1983)

Steadily working my way through the Killing Joke discography we arrive at the bands forth "Fire Dances". At this point I'm starting to wonder if I've heard the best of what they have to offer, however the next record includes two classics. "Love Like Blood" and the song some say Nirvana ripped of "Eighties". Unfortunately the progression to that point has yet to begun with this album mostly toying with the same ideas "Revelations" explored. A touch better overall it suffers from the same flaws as its predecessor. Even though I wouldn't rave about this release, I have to say Killing Joke do a great job at creating an original sound. When its fresh it has its charm but quickly tires as a session draws on.

The opener "The Gathering" gets things charged up with a rampant tom snare beat that glimmers an inkling of hope for another "Tension". Unfortunately the guitars are set on exploring discordant rumbling noises and creating a paranoid, nightmarish semblance. The baseline holds it together with solid melody line and the song experiments with some harsher noises groaning into the landscape. Much of the record follows this formula, tribal primitive drum pound and throb there way through drizzling distortions and nonsensical riffage that doesn't offer much in the way of song structure or progression and the bass guitar is often the only comforting outlet in a maddening climate.

Obviously its the point of this record. Much better than "Revelations" did, "Fire Dances" clearly establishes its vibe of mental insanity and playful madness no thanks to singer Jaz who seems to be enjoying his performances, flamboyant, theatrical and jester-like one can picture him dancing in front of the fire. Records that play with any theme can easily engulf you in it, regardless of if it borders on morose. There are moments where the band achieve this and their unusual riffs and style come off well, however it was to little as a whole. I'm left with an odd appreciation for this record. Its not one I wish to listen to often however it fills the gaps of experimentation that has led to a lot of extreme music I listen to today.

Favorite Song: Harlequin, Dominator, Lust Almighty

Rating: 4/10

My Top 10 Music Discoverys In 2015

 

Every year is a great year for music, because even if there isn't a lot interesting going on (not the case) there is an enormous ocean of the past gone by to wade through. As always I love to find new artists to listen to alongside the new records coming out from the ones I know. As well as countless good records Ive seen Meshuggah, Korn, Slipknot, Shikari, Devin Townsend, Nas playing Illmatic AGAIN! Download festival was a blast and in the summer caught Cypress Hill, Snoop Dogg, Napalm Death, Death and Opeth! Later in the year Killing Joke, Manson, Deep Purple and Public Enemy! Its been one heck of a year! for my top 10 records released this year click here.

(10) IGORRR

Truly an artist of the internet era, with instant access to a vast depth of music, IGORRR's music draws from many obscure niches of Death Metal, Glitch and Baroque to collide in a frenetic maelstrom of noise assault. Perfect for my taste in aggressive oddities.

(9) Birocratic

Biro initially came across as a Nujabes clone but has managed to define his own style and sound across the course of a few records. Being a fan of Nujabes I obviously liked this from the get go, but it was great to hear Biro develop into its own brand of instrumental Jazz Hop.

(8) B.G.

My exploration of Southern Hip Hop hasn't led me to too many gems, but there's something to B.G's flow and laid back persona that really works, and when paired up with the right beats he makes a reputable impression.

(7) King Crimson

Their debut is a celebrated classic and having finally gotten around to giving it a listen I understand what the fuss is about and can't help but feel there is more on offer in their discography I wish to dive into soon.

(6) The Beach Boys

All I knew of this band were the Surf Rock numbers like "Surfin USA" which I had little interest in. Had no idea there was another side to the band, or more so Brian Wilson who composed the entirety of this record which I have fallen in love with.

(5) Master P

Master P was a name I knew of in the rap world, but this year I learned the story of his entrepreneurship with No Limit records and of the short lived success his label went through between 97 and 99. I wouldn't say he is one of the greats, but his style, the UGH and the crew he brought together he has definitely been responsible for a lot of enjoyable music that has satisfied my craving for more Hip Hop.

(4) Dead Kennedys

I've known about the legendary Punk group Dead Kennedys for years, but finally cracked the case this year with Frankenchrist which really struck a nerve with me. Although its significantly different from there other records its opened the door for me and I hope I'll get into their other records soon.

(3) Killing Joke

What a tough choice the top three has been, at third its Killing Joke, a band who I've heard of many times as an important influence on bands like Ministry, Korn and Godflesh I finally understand their importance and have grown ever so fond of their first two records, however the rest of their discography is proving to be rather patchy. I like their style, their identity which is very niche, a mix of Post-Punk and Industrial Rock with a charismatic voice.

(2) Kraftwerk

Its not strictly the year that Ive I learned about Kraftwerk's legacy and contribution to electronic music but it has been the year Ive really gotten to grips with their music and whats so fantastic and amazing about it. They had the vision to write emotional and imaginative songs at a time when electronic music was still seen as a novelty. The set the foundation for an explosion of synth pop in the 80s and subsequently everything else that followed. What's best of all is their music is fully realized and stands the test of time.

(1) Outkast

I have a soft spot for Hip Hop, so its no wonder to see Outkast here. Growing up I remember hearing B.O.B and Miss Jackson on MTV and this year decided to listen to their discography sequentially. Ive followed the journey of these two talented and articulate individuals who have crafted some of the finest Hip Hop records id never heard... or was waiting to hear? This is why I seek out new music, Outkast are one of Hip Hops greatest acts with a unique and defined sound that fit right into the vibe of the 90s. It was capable of pushing boundaries and I'm shocked its taken me so long to get around to that southern playalistic duo from my youth.

My Top 10 Albums Of 2015

So its nearly the end of the year and time to write about my favorite records released. Now that I think back over the year there have been some terrific records and compiling a top 10 wasn't too difficult as there had been about that many that stood out as being the most memorable and enjoyable. Alongside the best there were also a few stinkers, disappointing records I had been anticipating that unfortunately didn't deliver. Overall its been decent but not remarkable, of all that was great much of it was great within its own context with nothing ground breaking or revolutionary reaching my ears.

(10) Killing Joke "Pylon" Link

 Not a record I expected much from, having gotten to grips with Killing Joke's identity this one felt at home with everything they were about. The production and choices in the instruments tone really gave it a new dimension. Possibly their best since their first two records, however there still a lot of records for me to get through first.

 (9) Arcturus "Arcturian" Link

 

One of the most anticipated records I could ever think of. A decade of wait for the return of a band who's music has been both riveting and engulfing with their unique, distinguished sound and unforgettable songwriting that did not fail to deliver. It felt as if no time had passed, despite an awful production, the music shined bright and charmed once again with a familiar sound.

 (8) Izioq "My Own Private Video Game" Link

 

 Izioq second project was an interesting evolution from its predecessor. Moving away from the purist retro sounds of the debut, this sophomore record felt right at home while deviling into a more expansive and imaginative set of sounds that is full of charm and soul, creating nostalgic memories with the power of imagination.

(7) Joey Badass "B4.Da.$$" Link

I heard about Joey with a promise of a 90s nostalgia trip and boy did we get it! This record has the heart of the 90s spirit without being nostalgic or recreational, Joey brings his own style and flavor and it works. Solid record that's full of decent tracks.

(6) Iwrestledabearonce "Hail Mary" Link

I very nearly passed this one up. What a mistake that would of been! This has been the years most fun and "don't take seriously" record. Full of grooves, dichord abuse and maddening shredding, "Hail Mary" is an unrelenting onslaught of rhythmic aggression goodness that never lets the foot of the gas!

(5) The Underachievers "Evermore - The Art of Duality" Link

I like this duo a lot. They have a unique style and seem to be on their own path regardless of what trends are leading Hip Hop music. After checking out last years "Cellar Door" I had to pick this one up, turned out to be a real gem, conceptual and executed well this was full of food for thought and meaningful lyrics alongside tripy beats.

(4) Ghost "Meliora" Link

Heavily anticipated from one of the most exciting Metal bands active and they are going from strength to strength. Meliora gave a fan everything they could hope for and more with the classic "He Is" song. A true gem in one of Metals best records this year.

(3) Periphery "Juggernaut: Alpha/Omega" Link Link

A sublime double record with no shortage of inspiration. Periphery created possibly their best work to date with infectious grooves and lush harmonies bouncing back and forth from one another in the fold of progressive and creatively written songs that have been stuck in my mind.

(2) Marilyn Manson "The Pale Emperor" Link

 A stroke of genius, the return of a true musical great who's been drifting through obscurity in recent years. "The Pale Emperor" is one of Manson's strongest records, embracing a new introspective approach that works so well for the man who used to poke at anything else. Moody, dense and folk like, its a grabbing record that sucks you in.

(1) Enter Shikari "The Mindsweep" Link

From the first listen it was obviously a great record and possibly one of Shikari's best, but as the year went by this one wouldn't get out of my head. As a long time fan it made me realize how much the band had matured and progressed over the years. They have the same charm yet now their music has a greater sense of vision and clarity, a richer diversity of ideas and inspiration that keeps on giving. The band musically shape-shift through styles and aesthetics so effortlessly it has accumulated to the years most exciting record for the band who's future never stops looking brighter.

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

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

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