Customer Reviews

Killing Joke

5 star:		(55)
4 star:		(18)
3 star:		(5)
2 star:		(4)
1 star:		(2)

 

 

Of all the bands in the world, Killing Joke is the only one of which I consider myself a true fan. I was a relative latecomer to the Joke, I discovered them in '84 and rapidly bought every title I could find. Tribal drums, lyrics depicting the nature of man as wild pack animal denying his true self in modern society, along with the fortelling of the coming apocalypse (remember, this was in '84), heavy stuff indeed. It spoke to me more than any other band had before or since. Jaz Coleman was the mad shaman exhorting us all to go to the fire dances, to shed our safe and secure world for one more in step with the true creatures that we're all down deep inside.

Then KJ came out with Brighter Than a Thousand Suns, a good but not great album. After that, Jaz and Geordie put out the excreble Ouside the Gate. Everyone including myself, thought they were done. But then came Extremities, Dirt and Various Repressed Emotions, their first "comeback album". With Big Paul Ferguson replaced by Martin Atkins, this album restored my faith in the Joke. While different than what came before, the album was hard, brutal and truthful, even if it lacked the lyrical subtlety of the early albums. I'll touch on the next two albums, Pandemonium and Democracy some other time. But again, after those two albums, I thought KJ was over and done.

I should have known better.

This album kicks ass and STOMPS! Paul Ferguson (Paul, we miss you!) still absent, Dave Grohl fills in admirably on drums for this album. Geordie's guitar style has changed a bit, it sounds as though he's not using a hollow body electric so much on this album. Both Raven and Youth play on different tracks on the album. Jaz is in his usual fine form here, though his lyrics are still a bit preachy and not as subtle as the earliest Joke albums. It's also a bit hard to take lyrics about asteroids and implants terribly seriously, but Jaz sings them with utter conviction. I could have done without the over the top growling and hissing vocalizations throughout Total Invasion and at the beginning of Dark Forces. It might have been okay on one track, but doing it twice was too much.

Oh, and the new version of Wardance is excellent. Uptempo, but still dark and sinister, it's different from the original, and yes, I do like the original better. But I think it was worthwhile.

I guess the best thing I can say about this album is that I don't think it's possible to play it loud enough. Ignore my fellow grumpy oldsters, this album is among their best and a must for any fan.

Wow! For 7 years, Killing Joke fans have been wondering if the band would ever return. And now they have...triumphantly. Let me first of all say that I am a die-hard Killing Joke fan- but an objective one. I was unsure at first if they could still pull it all off. Don't believe any of the negative reviews- this album is amazing. It is absolutely mind-boggling that these guys in their mid-40's can rock so ferociously and passionately. And how the heck can Jaz Coleman sing like that at his age??? Unbelievable. The original members are all in top form here, and as if that wasn't enough, Dave Grohl dropped by and played drums on all the songs. Here's a blow-by-blow rundown w/ ratings out of 10 (top score):

1. Death & Resurrection Show - 10/10. Awesome first track. Jaz uses a couple different vocal styles while Grohl pounds away and Geordie uses an almost ethnic-sounding chord progression. Raw and heavy, yet focused and clear.

2. Total Invasion - 11+/10. Yes I score this 11 out of a possible 10. This is the most wicked sounding Killing Joke song I have ever heard, and I believe I have heard all of them! The guitars are so crunchy and tight and Jaz introduces a brand new vocal style- you have to hear it to believe it, I don't know how a human voice would produce the sounds he makes during the first few lines of each verse. The chorus is melodic and classic Killing Joke. I can't stop listening to it!

3. Asteroid- 9/10. Very heavy fast song. Has the same punky drive of very early Killing Joke songs. Jaz howls about an Asteroid destroying mankind while the band maniacally pounds away. Somewhat repetitive, but very intense.

4. Implant- 9.9/10. Awesome song, about the fear of governments eventually implanting ID chips into humans. During the verses, Grohl perfectly plays a very intricate beat w/ some subtle keyboards and somewhat reserved vocals. Then all hell breaks loose- Great chorus(?) where Jaz shouts -"Tear up your ID cards, stick your Implant up your *ss, you just want to F---'ing control!!!"

5. Blood on Your Hands - 9/10. Another rocker, with a cool steady beat by Grohl. About corporations and stuff- "5 corporations earn more than 46 nations!" Jaz shouts during the chorus. A little repetitive and maybe 30 seconds too long, but a very solid song.

6. Loose Cannon- 9/10. The first single. This one is more electro-industrial with more sequencing and sounds. The verses have an awesome groove to them. The chorus is ok as Jaz repeats "I'm a loose Cannon". Personally I think Total Invasion would have been a better choice for the 1st single, but this song grows on you.

7. You'll Never Get to Me- 8.5/10. The most mellow song on the disc, slower but still with the crunchy guitars. Sort of a sing-along anthem. Good, but I think it could have been better. They could have backed off even a little more to contrast it with the other heavier tracks.

8. Seeing Red - 8.5/10. This song starts out and it really reminds you of older Killing Joke, with a perfect baseline and just flat-out cool. The only problem is, it never really varies at all. The chorus has the same progression as the verse but just heavier. Don't get me wrong, this song sounds super cool, but it's just that they should have had more changes.

9. Dark Forces - 8.5/10. Cool because it's different than the other songs. Almost gothic sounding, with eerie keys and vocals. Again some very unique Jaz vocals and a deceptively catchy chorus. Grows on you.

10. The House that Pain Built - 9.9/10. Very awesome song. Great riff and great beat. At first the riff sounds simple, but Geordie actually throws in some odd-sounding chords at times. Pretty heavy song, with the verse, build-up, and chorus all being great. My only tiny complaint is that the song basically cycles through verse-build-up-chorus 3 times through without any suprises. But it's really great as it is too.

11. Wardance (bonus track) 6/10. Very disappointing. This is one of Killing Joke's first songs, re-recorded with Grohl on drums. First off, Grohl screws with the original beat, which he should have left along. The bass and guitars are not as tight as the original, and Jaz delays on some of the verse lines like he's trying to change it up a little, but he didn't need to. Still, it's cool to hear a new version of a great song!

Overall, if you like intelligent heavy music for the mind, soul, heart, and any other part of your being- buy this CD and let's pray they follow through with that US tour!!!

Almost 25 years since they formed Killing Joke have returned with yet another album. And while some might be wondering why they don't just call it a day, there is a purpose to this album. Jaz Coleman is finally getting the chance to say 'i told you so'.

Since their debut album (also self titled) Killing Joke have been raging, with some considerable paranoia about the threats of the so called new world order/corrupt governments/occult/conspiracy theories. Coleman always claimed that the governments were out to get us, that secretly they were preparing to sieze all power. And now in 2003 it seems as if he has been vindicated.

Way back on "Whats This For..?" Jaz screamed "..crawling for oil, they were bleeding for gold..", a fairly accurate predication made all of 22 years ago. So now he takes the time, to warn of the potentially bleak future once again, and to vent the feeling of utter frustration and seething anger about the state of the world.

Musically this is different from previous albums, it doesn't have the layered space/prog rock guitars or the electronic synth bleeps and swirls. The drumming, provided by Dave Grohl, is harsh and more pounding and cruching than the rhythmic groove of 'Democracy' or 'Pandemonium'. Its a sparse album, which suits the angrier more abrassive mood.

"The Death & Resurrection Show" warns of history repeating, and the deception of the powers that be. While "Total Invasion" foreshadows the governments of the worlds attacks on their own people solve the problem of resource (and water in particular) shortages, using the situation of Mexico City as an example. The tone then shifts to an other worldly threat, and Jaz's favourite topic, the comming apocalypse, in "Asteroid". "Implant" and "Blood On Your Hands" seethe over government control, of the individual and the worlds economies respectively. All the while marching to an industrial pummel and shredding guitars.

The later half of the album is concerned with fighting back, and personal guilt at Colemans failure (from his perspecitve to do this so far, at least with violence). Finally on "House Of Pain" the band lets loose, swearing to hold on to freedom at all coasts, because the pain is far greater to betray himself than fight back.

WWJCD? I think we have the answer.

Given the hit-and-miss-ness of the last couple of albums, this is a huge relief. Just when we need them most, they come back harder than ever. This album sums up my feelings about 2003 EXACTLY.

Despite their age, musically speaking they are tight as hell and as strong as a nuclear blast. Excellent production, great mix. Adding Dave Grohl is a nice bonus, but in all honesty, he is outshined by Killing Joke themselves, which is really saying something. I can't believe Jaz can still sing like this and still be able to speak afterward. Geordie sounds more focused and biting than usual and the bass playing is classic KJ.

I'd say this and "Extremities" are the two best albums they've done in the last 20 years.

Killing Joke's fan base is an interesting one. Much like U2, you either have the true/devoted fans that like everything and grow with the band over the years no matter how much their sound evolves/changes, the fans who only like the first 3 albums and shrug off everything else that follows, or the younger new fans who only like the new stuff, and could care less about the 80s albums. There's an argument for every previous KJ album that one of these fan-types will find disapproval somewhere along the line. That line is blurred on the 2003 Killing Joke LP. You can almost hear every era of the band's history echoed throughout the CD (with the exception of 1988's Outside The Gate).

The first four tracks introduces today's Killing Joke - darker, heavier, and more frenzied than even the most metal numbers on Pandemonium. Then, track 5 hits, and it's Night Time all over again! "Blood On Your Hands" is possibly the best KJ song to come out in over 15 years. It screams of Tabazan, Darkness Before Dawn, and The Wait. The song just feels classic, and it's hard not to hit the repeat button on your CD player after this one! Track 6 - the single - "Loose Cannon" was built to be a radio single, and it does the job. "You'll Never Get To Me" and "Dark Forces" bring back the majestic rock march of "Requiem" and "Lanterns". "Seeing Red" would have to be Dave Grohl's spotlight on this record. By the way, he absolutely SHREDS the drums on every track, and KJ couldn't have picked a better drummer for this LP. Dave adds his trademark fierce rock style while mainting the tribal ferocity of early KJ LPs. If you're a Grohl/Foo Fighter hater but love KJ, do not fear, they can co-exist, and they do it damn well. In-fact, the line-up of Coleman/Walker/Youth/Raven/Grohl might arguably be the best yet. I guess it depends on how much of a Big Paul Ferguson fan you are! The closing track "The House That Pain Built", is a modern-day rocker, and might well be the weakest track on the CD - there isn't a bad song on the album - so that's not saying much. The bonus track is a fiery new recording of "Wardance" from the debut LP, so as you can see, the band is feeling that energy and vibe from the early days.

Overall, an outstanding album - one that will please KJ fans from all eras of the band's colorful and influential career. You won't hear the gloomy synth pads that filled the gaps on Night Time and Brighter Than A Thousand Suns (though there are traces of synth on the album), but then there are no gaps to fill on this great collection of songs. A highly recommend purchase. Killing Joke is back! Rejoice!

At last a political album from an otherwise stagnant if not comatose rock scene.
Before i go on with my humble opinion about KIlling Joke's new album i'd like to set a few things straight:
-first of all, Killing Joke, even when they were starting out way back, could not be classified as "punk" unless you were desperate to label them something, anything. This became more apparent as the years went by, when, not only they took on a more metal approach but they eventually reached the domains of industrial with "Democracy". With that in mind, this new release of theirs is perfectly consistent with their course over time. Not that it HAD to be but it amazes me how some people keep referring to Killing Joke as "punk" and how some others are "dissapointed" that this is not a punk album.

On to the album itself then: This is easily Killing Joke's most political album, and not only that, it's one of the most caustic political albums to hit the market since the advent of Rage against The Machine (I'm not comparing the music here, but the lyrics).
It hits hard at the corporate dictatorships, expresses the horror that any thinking person feels as Big Brother tightens the noose, leaves cosnpiratorial hints, announces the will for survival and celebrates a fighting spirit (albeit under a midst of dark predicticism) and screams back at you, me, and everybody, in furious anger.
Musically, it had to be the way it sounds: it's a heavy, very heavy in fact, affair that keeps lingering between metal and industrial, almost suspended between the two genres, with an obviously deliberate "rough" production, innovative vocals and apt effects for good measure.

But what matters the most, is that this LP comes to rock the still waters of the current rock scene. It's as fresh in its feeling and soul as you could demand. It's as genuine and authentic as you would expect from a group with the history of Killing Joke. And it's loud, loud in a spherical sense: it's message is loud and the delivery is loud.
Recently i also heard the new album by another 80s legend, that of Wire, which i also found stunning (in a different frame of course). My thought, coupled with listening to the new KIlling Joke was this:
isn't it actually pathetic that we might be turning to the 50 year olds to hear authentic rock albums by now? And what does this mean and imply about the state of rock music? Where are the politics, where is the pathos, where defying spirit that used to characterise this type of music?
Just a thought...

Killing Joke waited in the shadows for the right dose of inspiration to hit and with the second gulf war, Jaz and the gang had a lot to work with. Stripping down their sound from the sequencer laiden past couple of albums, the band is sounding more like a modern blending of the "Fire Dances" and "Extrematies" era. Metal? Punk? When they released their first album they were considered a "post-punk" band and thankfully due to the intelligence and passion, they certainly aren't a metal band (Putting Killing Joke in the same catagory as Ozzy and Van Halen turns my stomach)--It's a strong album and stands out amongst the dreck we've had shoved down our throats for the past couple of years. The only weak spot is Dave Grohl's drumming--- Big Paul's tight, tribal intensity was last heard on "Fire Dances" and was a bit washed out on "Night Time" and "Brighter" (no doubt due to triggers and dance clubs) but still in your face-- While I thought Martin Atkins did a great job I still missed that signature bass and drum combo. Sadly Grohl, though capable, sounds dreadfully overwhelmed and can only wish he was 10% as good a drummer as PF and MA....he sounds best when he's imitating the texture of the first 4 albums and lost when he breaks out on his own---the snare sound is a bit 'out of context' as well... When all is said and done, this is a wonderful album that we especially be appreciated by people who loved anything before "Night Time".

I will start out by saying I'm not even a Killing Joke fan. I own Pandemonium, and the CD single for Democracy, and I'm only mildly enamored with both purcharses.

When I heard that the Joke were back in 2003 with a new album, I had about as much anticipation for this album as I did for the new Biohazard album (nearly none at all).

This album simply floored me, however. It is by far their heaviest, and best album.

Every song is a winner. Killer distored vocals, outstanding riffs, and it sounds like Dave Grohl is smashing the skins with a pair of 2X4s. Every song is a winner, with Dark Forces and The House That Pain Built being some of the best and most emotionally engrossing songs I've heard from any band.

There are so few albums I can stick in the CD player, and thoroughly enjoy every track on the disc. This is one of the few.

There is also a bonus track on certain releases of this album called "Inferno", that is just so incredible, I can't believe it didn't make the final track list! It just shows how great of a CD this is.

Well, it's been two years since I bought this album, and I have a confession to make. I should first mention that I listen to nearly all my music in the car during my commute to and from work (home is for sleeping, not loud industrial jamming... usually).

And in those two years since I first bought this album, it has never, EVER, not once, left the car.

That officially makes it the only album I have ever purchased that is absolutely essential and that I can't be without. A true "desert island disc", if I was making a list. Granted, I'm not listening to it all the time, but still... the fact that I've never filed it away with my other hundreds of discs speaks volumes about this record.

I've always been a huge fan of Killing Joke, finding very few, if any, albums that don't completely satisfy the musical palate. Even though KJ has so many other incredible albums, they don't compare to this. In fact, I'm going to go out on a limb here and say that this is the best album that I have ever heard in my life. Sounds pretty corny, doesn't it? But I'm neither a thirteen-year-old girl nor a groupie. This music speaks to me in a way that is powerful, emotional, thrilling, and exciting.

The many other reviews here highlight the highs of this album, so I won't retread when there's already 70+ reviews. I just couldn't hold back any longer... I had to make my confession. It's very hard to say what it is about this album that is so incredible... but there is talent here. And it's raw, powerful, and unstoppable.

If Jaz Coleman's much-feared apocalypse comes, I sincerely hope that I survive and find my way into his tribal camp. I can't think of anyone I'd rather spend my time with when the world ends. This guy may be a prophet... he may be crazy. Either way, this is an incredible disc.

After their releases in mid-nineties, I thought these guys had given up. Honestly, I thought much of their late work sucked. I stopped listening once 1992 rolled around, and only kept tabs on them through another band with mutual members--PIGFACE. Paul Raven joined up with Martin Atkins (Ministry, PIL) to start one off-the-wall, drum-driven industrail band who put on a crazy show. Anyway, all paths led back to KILLING JOKE, as Paul Raven convince Martin Atkins to do some drumwork for an upcoming KJ album. KJ's sound had changed drastically, and I was curious to see how Martin Atkins would put his stamp on their music. He did two albums with them--"Pandemonium" and either "Extremities" or "Democracy" (I can't remeber which...as you know, KJ doesn't always give you a "line-up card" in the CD). Anyone who has heard these CD's knows that they are NOT very strong. Extremities starts off fantastic, with "Money is not our God," then fades into mediocrity. "Pandemonium" has a few loud, fierce offerings, but too many overdubs, keyboards and digital machinery for me. "Democracy"...don't even get me started. I sold that to a KJ-head friend of mine for some fried chicken and an opened beer. I only bought this CD becasue a buddy of mine put it on at a party a few weeks ago. i immediately recognized Jaz's voice. "I don't know who they are, really," he tells me, "I bought it cuz Dave Grohl plays the drums on it. Killing Bones, or something like that."

I've got to say, this might be their best CD yet. i know that's hard to swallow, and their first 4 albums (Killing Joke, what's THIS for...!, Revelations, Fire Dances) are ALL incredible, but I just can't say enough about it. You'll know it's Killing Joke right away when you hear it. What makes it so good is that there are NO weak tracks on it. Maybe they won't all stand the test of time, but right now, I can't skip a track no matter what. It's definitely their hardest, most abrasive output yet. Too bad Steve Albini wasn't in England to produce this one.

Don't get too excited about Dave Grohl--it was definitely a "guest" appearance. In fact, he wasn't even present during the recording of the CD. The bulk of the album was recorded in England. Months later, by request, Dave G laid down the drum tracks in a studio in LA without the band members or producer present. It's amazing how cohesive all of it sounds, given the circumstances. If there's a tour, plan on seeing some unidentifiable, unknown drummer--kind of like how Dave G did the last Queens of the Stone Age album...he turned down the chance to tour with them. Everyone was trying to figure out who the drummer was the entire show when I saw QOTSA in W. Palm Beach, FL last year.