Customer Reviews

Night Time

5 star:		(19)
4 star:		(5)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Set the wayback machine to 20 years ago (yikes!), I was babysitting and my girlfriend and I were watching MTV (well, sort of). On comes this video, there's this incredible guitar, twangy, dark and sinister backed by this primal beat. On the screen it goes back and forth between this guy in a suit behind a podium singing, nay, preaching the lyrics of this incredible song. Behind him were the flags of the then Soviet Union and US. Then stock footage, then this guitarist playing a huge goldtop hollowbody. He wasn't playing it, he was caressing it, squeezing out this beautiful, angry and ominous sound.

I sat there transfixed, then ran around the house like a madman looking for a pen and paper to write down the name of the band and the album.

I searched all over and finally located an import pressing and paid dearly for it, but it was all I'd hoped for. This was Killing Joke, the voice of Jaz Coleman's muse. There were lyrics like none other I'd seen before. Songs about man as animal, sex, life in Europe waiting for the apocalypse (remember, this was '84), the emptiness of life in the 80's, and looking at the aforementioned apocalypse not as a bad thing, but the inevitable way to set things right and return man to his proper place as a tribal creature, not one of cities and civilizations.

I immediately set about getting Killing Joke's previous works. This band SPOKE to me. While I don't think this is their best, I do think it's probably one of the more accessible and definitely the title to buy for those that enjoy the music of the 80's.

Geordie Walker is one of my favorite truly heavy guitar players. This was the first Killing Joke record I ever heard so I kinda missed out on the timeline when people associated them w/ the punk/ new wave thing. I heard this amazingly heavy atmospheric record that was also perfectly arranged. Perhaps I am projecting here a bit, but for me, Killing Joke has alway ruled the heavy, quasi-occult, intelligent realm of rock. Jaz Coleman's voice is one of the few I find believable singing about such themes. Like the characters in Lovecraft books who, through some tinkering w/ nature and old manuscripts, have glimpsed the other side of reality and left barely sane enough to talk, Coleman's voice delivers convincing tales from the darkside. I am completely confused by the common classification of this record as some "accessible" offering that was intended for the charts and succeeded w/ "Eighties" which you can now find on your favorite "Hit's of the EIGHTIES" compilation. This is easily the hidden jewel in my top ten RECORDS of the decade. Night Time is a perfectly composed masterpiece that was a decade ahead of it's time at least. Fans of current "thinking/heavy/industrial" stuff and who haven't heard of Killing Joke would be well served by listening to the album.

In many ways, this is the direction Killing Joke had been heading for the past several albums, and in many ways, "Night Time" is by far the best album the band did with Paul Raven anchoring on bass, but I've never found "Night Time" quite as compelling as others.

"Night Time" is largely a pop/new wave album-- Geordie's guitar, having taken on a metallic edge in the past couple albums, gets a sheen to it this time around, Paul Ferguson's drumming has yielded its tribal rhythms in favor of dance beats, and Jaz Coleman's shouts and rasps are all but gone, instead he uses his smoother singing style he'd been honing over the past couple albums. Lyrically, the band seems to have left behind the armageddon predictions of the early records and instead is making a sort of abstact statement about degraded society. It actually works quite well from this standpoint.

Truthfully, when it works, it works quite well-- "Love Like Blood" is brilliant, haunting, dark, funky, and bar none one of the best songs the band ever recorded, ditto in feel for "Darkness Before Dawn", though its not nearly as good a song, it sets up a great mode with Coleman's frightened vocal over synth delivery of the verses and Raven's crisp bass sound, "Kings and Queens" is an aggressive number that FEELS like an old KJ song, even if its wrapped in the band's new sound, and "Eighties" may be dancey pop music, but bar none, its great dancey pop music, the band chugs and Coleman wails and its just a blast. Mind you, there's also the totally lame title track, with its goofy chorus and a couple largely forgettable tracks ("Europe" in particular, which even though I've listened to this album hundreds of times, I can't think of how it goes....).

Killing Joke never really stood still but evolved over time, and this one is certainly no exception. Its the peak of the band's more viable sound, and its a great album, but be careful-- if you're familiar with the old stuff (or the new stuff now that I think about it), this can be quite unexpected, but taken as it is, its a great record.

Definitely a collection of the best the Killing Joke experience can offer when it's not filled with venom and cynicism, which may explain the many accusations of going 'commercial' with this one. I like to think the world was ready for this sound (at long last) but it does have a lingering niceness to most of it while keeping Geordie Walker's rich guitar tapestries intact.

Apparently, several band members were going through a rough period at this time except for Walker, who produced an ample handful of larger-than-life riffs, and "Night Time" was born. A couple of 'hit' singles emerged in Europe while the U.S. turned the other cheek, dazzled by more 'commercial' artists with funny hair. The Joke was soon playing monster festivals and had really hit their stride with this polished yet commanding sound (see "Kings and Queens"). "Eighties" will remain their enduring statement (not bad moves) and the rest of the album retains the balance between grandiose heaviness and listener-friendly charm.

No other album showcases their mastery of density and grace better than the opening of this one. After the dazzling fury of the title cut, we are led into the descent toward "Darkness Before Dawn," a chilling example of this band at its literary and legendary peak, and a glimpse of the heady lustre they would pursue later, and less successfully, with "Brighter Than a Thousand Suns".

Probably the best starting point for the uninitiated.

If you were a child of the 80's, how on earth do you find out about this band? I had gotten a random email from someone only 3 years ago recommending I check them out cuz they thought I would like the bassline to "Love Like Blood".... how thoughtful of them, huh? And how right they were!! I was hooked, & had to get this cd... & that song is still my favorite on here. I have, of course, checked out some of their other stuff, & what an interesting history they have! If you like diverse histories of bands (ahem, Ministry for one), then KJ would be right up your alley. Yah, you might either just like the "new-wave" albums or the later heavier ones, that's up to you... I personally like both, depending on my mood of course. If you've only vaguely heard of them before, this would be a great starting point... unless you want something harder, but then you'd prolly be looking at one of their later albums anyway, huh? The only complaint I have about this cd is it feels too short!! It's only 8 songs... but they're so freaking good! "Eighties" is definitely one of the catchier ones, & you've MOSTLY LIKELY heard it at an '80's club. It also seems to be my theme song for my musical listening habits :-D

If you want another album of theirs like this, then definitely check out 'Brighter Than a Thousand Suns' (you'll instantly love "Sanity").... &/but if you want something heavier, their new one is a must hear also!! I just saw them live this weekend, & though they only played "Kings & Queens" from this album (might I add a bit heavier version), they put on a helluva show. I must also add this interesting note... since Dave Grohl played drums on the new album, it does make sense the striking similarities to the riff of "Eighties" & to that of Nirvana's "Come as You Are"...yaaaaah, if you didn't notice that before, you notice it now, huh? :-D

Excellent CD. One of Killing Jokes best. Every song is good. I could never grow tired of listening to "Darkness before dawn". I've bought this cd 3 times now, just from wearing it out.

As a recent convert to the world of Killing Joke, I must point out the album that gave me the impetus to check out more of this energetic, "a singular musical category does not give their music justice" band's music. This was simply one of the most exciting, lively, raucous albums I've ever heard in my entire life and is What Rock Should Be.

First, let me point out the title track -- "Night Time" has quickly become one of my five favorite songs of all time, which is impressive considering how much music I love. It is also indicative of the music that this album contains. The guitars are absolutely on fire without being overpowering, the drums are thumpa-thumpa tribal without being cliched, the keyboards give the track a swirling atmosphere, and Jaz Coleman's vocals give the song an urgency and pure ENERGY that wakes you up faster than a triple shot of espresso followed by big bottles of Red Bull, Jolt Cola, and Mountain Dew. This could very easily be said about the rest of the songs on this album.

BUT WAIT! There's more to highlight. "Darkness Before Dawn" is a catchy, slower track with a unique beginning (all of those "oh oh oh"s). "Kings and Queens" is another song that has a unique beginning (to describe it would just be ruining it, really) that quickly segues into a danceable rock & roll song that The Cult must've really struggled to attempt to replicate. "Tabazan", with YET ANOTHER unique beginning, is a lovely track with a barrel full of catchy rock hooks. "Multitudes" is another slower track that shows off not only Jaz Coleman's prowess as a singer but also shows how, despite Chris Kimsey's uberpolished production style, Killing Joke can still rock. "Europe" is a multilayered track -- slightly uptempo, slightly melancholic, slightly dancey, and slightly punk all at the same time, all layered together to create yet another masterpiece. You should be aware of the big hits, so I won't go into great detail about "Love Like Blood" (probably the most romantic song Killing Joke ever recorded) or "Eighties" (all fire and dance and power punk/pop) except to say that if you do indeed love the music of the '80s, you already know you love those two songs.

I adore this album. Overall it's a bit more polished and "pop" than anything else Killing Joke ever did, but if you love this album you will love everything else they've done in due course. I would highly recommend picking _Night Time_ up for anyone with even a passing interest in this fantastic group. What you choose to do with the fire afterward is up to you. ;)

'Night Time' is probably the best place for Killing Joke new comers to start outside of the best of 'Laugh? I Nearly Bought One' compliation that came out in the early nineties. For starters it has the stunningly good song 'Love Like Blood'. A brilliant apocalypitc song driven by a pulsing rhythm section, majectic guitars, eerie synths, Coleman's best end of the world poetry, and a kind a catchiness that Killing Joke never attained before or since.

The rest of the album is fairly similar only not as good. Geordie's guitars alternate between subdue rhythmic flickering, and sci fi buzzing drones. The drums and bass form the throbbing heart of the sound, always constant but never stealing the show. While Coleman's synths weave their spooky vibes inbetween it all. And of course Jaz also adds those mad ravings/doom forcasting shamanic rants over the top of everything, occasionally touching with reality. Theres not really a bad track to be found, the only problem is the lack of really great songs to keep you hooked. As mentioned before 'Love Like Blood' is brilliant but besides that on 'Eighties' really has a memorable hook, with that bouncing riff that was so infectious that Nirvana stole it for 'Come As You Are'.

If you're interested in Killing Joke purchase this as your first album. But be warned the band is never easy listening and it takes patience from the listener to really get into any of their albums.

Easily their most accessible 80's album and yet their quintessential release. In my opinion everything they were trying to do before and everything they tried after this album does not match the "civilization is collapsing but the future looks beautiful" feeling expressed on this album.

It is very hard to believe that Killing Joke's 5th album, "Night Time", came immediately after "Fire Dances." And with only two years in between them! Fans of the aggressive and primal Killing Joke of the first four albums were probably shocked the first time they dropped the record onto their player (being 1985, they weren't popping the CDs in just yet). Coming from a much later standpoint, however, "Night Time" is not an anomaly, but rather another variation of the ever-changing mood of Killing Joke.

"Brighter Than a Thousand Suns" followed this album but a year later, and there are few differences in the sound of the two records. Each track on "Night Time" is a glorious lyrical romp with exquisite choruses and the magnificent work of Geordie Walker, one of the underground's greatest all-time guitarists. Though nowhere near as heavy as any of the four previous releases, this album still stands on its own quite well. It is a marvelous precursor to the more memorable "1000 Suns." Having heard "1000 Suns" first, it is easy to see why this prior album didn't receive much acclaim: Killing Joke seemed to be experimenting with a much toned-down but still heavily experimental rock sound. This sound would develop nicely into "1000 Suns", and then become a major element in later KJ works during the next ten years. "Night Time" is a logical stepping-stone: a bridge between the early tribal rhythms of "Fire Dances" and "What's THIS For..." and the lighter sound that would follow. Three albums later, "Extremities", the sound born here would integrate flawlessly with the insane yet incredible discord of the first albums. Killing Joke's sound was ever-evolving during their 17-plus year life (which is likely over, though this critic longs for a new release in the new millennium; what other band could possibly span two decades more flawlessly than Killing Joke?), and "Night Time" is a wonderful recording.

Favorites on this album include the title track, "Kings and Queens" (a likely precursor to "Chessboards", perhaps?), and the slightly dated but still enjoyable "Eighties." There was probably much disappointment among the Killing Joke metal-heads of the mid-eighties when this album debuted, but it is likely that an entirely new breed of fans joined with the sound on this record. You won't be disappointed if you already have "1000 Suns" or enjoy other mainly-eighties bands such as The Cure and New Order. But Killing Joke can scarcely be considered an eighties band; their sound began during the end of the disco era and progressed well into the realm of alternative-rock while never succumbing to the trappings of any one genre. This album is as fresh as it was in 1985, and any Killing Joke fan should not be disappointed.