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KILLING JOKE /Post-Punk Rock/Industrial/Quasi-Metal
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| Darksage | Дата: Воскресенье, 20.08.2017, 19:42 | Сообщение # 6 |
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|  Killing Joke - Brighter Than A Thousand SunsГод:1986 Tracklist 01 Adorations 4:43 02 Sanity 4:44 03 Chessboards 5:54 04 Twilight of the Mortal 4:15 05 Love of the Masses 06 The Southern Sky 4:39 07 Victory 7:11 08 Wintergardens 5:24 09 Rubicon 7:03 10 Goodbye to the Village 5:27 11 Exile 6:38 Доступно только для пользователейЦитата Review by Ned Raggett
The end of the '80s wreaked havoc on all too many bands that started off strongly and, while Killing Joke hadn't quite reached its nadir (that would happen with the appalling Outside the Gate), Brighter Than a Thousand Suns was a definite transformation from the days of "The Wait" and "Complications." The unexpected success of Night Time and new commercial pressures clearly came to bear -- Chris Kimsey's production, effective on that earlier album, here combined with Julian Mendelsohn's mixing to result in too often blanded-out album rock throwaways, perfect for blasting on highways and little else. Still, the band hadn't changed any from Night Time, and even that lineup was three-quarters of the original incarnation of the group. The emphasis still focused clearly on volume and strong, full-bodied playing -- Geordie Walker, Paul Ferguson, and Paul Raven don't sound like they're holding back at all even if their individual performances are less on the edge. Jaz Coleman's newfound way around inspiring singing, meanwhile, pays off in dividends; though it's impossible to square the results here with his earlier hectoring and cutting rage, the warm, sweet passion that he brings to bear often transforms an OK track into a great one. "Adorations," the killer opening track and easily the album standout, is a perfect example of how this era of the group could make it all connect, Coleman's beautiful performance on the chorus and the overall ensemble effort making it the best anthem neither U2 nor Simple Minds ever wrote. But the stiff, mechanical beats on the immediately following "Sanity" -- a ridiculous substitution of Ferguson's undisputed abilities -- sets the tone for the remainder of Brighter Than a Thousand Suns, an effort ultimately dialed in rather than performed. The sound-alike quality of nearly all the songs -- especially ironic considering the accomplished genre-hopping on the earliest records -- renders Killing Joke its own unfortunate parody in the end.
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| Darksage | Дата: Воскресенье, 20.08.2017, 19:44 | Сообщение # 7 |
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|  Killing Joke - Outside The Gate[2007 Expanded Remaster] Год:1988 Tracklist 01 America (03:48) 02 My Love of This Land (04:12) 03 Stay One Jump Ahead (03:11) 04 Unto the Ends of the Earth (06:08) 05 The Calling (04:45) 06 Obsession (03:36) 07 Tiahuanaco (03:27) 08 Outside the Gate (08:57) 2007 Bonus Tracks: 09 May Day (03:53) 10 My Love of This Land (Early Version) (04:17) 11 Obsession (Early Version) (03:51) 12 Unto the Ends of the Earth (Instrumental) (06:09) 13 Jihad (Single B-side) (06:04) 14 America (Extended Mix) (06:48) 15 Stay One Jump Ahead (Dub) (03:33) Слушайте Outside The Gate — Killing Joke на Яндекс.Музыке Доступно только для пользователейЦитата The resulting album, Outside the Gate (1988), is Killing Joke's most controversial album, with opinion ranging from admiration to total disgust, owing to its synth-led sonics (experimentally, and disagreement over the quality of the material. It is not signature-sound Killing Joke, being built around Coleman's orchestral keyboards instead of Geordie's distinctive guitar riffs. Had the album been released as "Coleman/Walker" (as the cover graphic implies) it might have been better received. Released as "Killing Joke" however, it was panned by confused critics and fans alike. Two singles, "America" and "My Love of This Land", were released from the album but did little to improve its fortunes. The video for the former features Coleman and Geordie with drummer Jimmy Copley and session bassist Jerome Rimson, who never actually recorded with the band. No live dates were played to support the album and the band spent much of 1988 in a legal battle as they tried to split from their management and record company, E.G. This struggle resulted in Coleman suffering a nervous breakdown.
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| Darksage | Дата: Воскресенье, 20.08.2017, 19:45 | Сообщение # 8 |
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|  Killing Joke - Extremities, Dirt & Various Repressed Emotions[2007 + Bonus Disc] Год:1990 Tracklist 1.1 Money Is Not Our God 5:15 1.2 Age Of Greed 7:22 1.3 The Beautiful Dead 5:56 1.4 Extremities 5:20 1.5 Intravenous 7:02 1.6 Inside The Termite Mound 7:50 1.7 Solitude 4:58 1.8 North Of The Border 5:52 1.9 Slipstream 7:07 1.10 Kaliyuga 2:09 1.11 Struggle 6:14 2.1 The Party (Demo) 5:10 2.2 The Fanatic (Demo) 4:22 2.3 Solitude (Demo) 5:10 2.4 Jubilation (The Beautiful Dead - Demo) 4:37 2.5 Age Of Greed (Live) 12:05 2.Video Money Is Not Our God (CD-ROM Video) 4:07 - отсутствует Доступно только для пользователейЦитата Review by Ned Raggett
The gaggingly awful monstrosity of Outside the Gate behind them, Jaz Coleman and Geordie came to their senses, brought in ex-Public Image Ltd drum fiend Martin Atkins as a new partner for Paul Raven, and fired up a new version of Killing Joke that finally recaptured the sprawling spirit of the earliest days. Wisely, Extremities, Dirt & Various Repressed Emotions didn't simply try and replicate the debut or Revelations -- the group collectively allows for the later abilities of the members and incorporates that into the performances. Consider Coleman's singing on the opening rampage "Money Is Not Our God" -- while the song itself rips along with the sheer fire of 1980 intact, Geordie in particular just going off, Coleman saves his now-recovered shout for the title phrase and the occasional verse. His later, smoother style, meanwhile, takes the fore elsewhere, a surprising but effective balance of control and chaos. Geordie, meanwhile, if anything sounds better than ever, his ear for brutally effective, memorable and tightly wound guitar riffs combined with just enough technical flash to define what a guitar hero should really sound like. Songs like "Inside the Termite Mound" and "North of the Border" keep the slightly more accessible, calmer side of late-'80s Killing Joke at least partially present, but never succumb to total polish. If there's a definite flaw to Extremities, it's that too much of the album sounds like a response to the band's descendents -- most clearly Ministry, with whom Atkins had already worked -- than its own effort. At other parts, as on "Struggle" and sections of "The Beautiful Dead," the group creates generic speed/thrash instead of its own stronger variations. It's not the worst of sins, though -- certainly not in comparison with Killing Joke's immediate past -- and the end result confirms the core Coleman/Geordie partnership as the strong beast it is.
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| Darksage | Дата: Воскресенье, 20.08.2017, 19:47 | Сообщение # 9 |
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|  Killing Joke - PandemoniumГод:1994 Tracklist 01 - Pandemonium 02 - Exorcism 03 - Millennium 04 - Communion 05 - Black Moon 06 - Labyrinth 07 - Jana 08 - Whiteout 09 - Pleasures Of The Flesh 10 - Mathematics Of Chaos Доступно только для пользователейЦитата Review by Ned Raggett
After the band's lengthiest hiatus since it was founded, Killing Joke returned in 1994 with a new/old lineup and an interesting enough new album. Raven, the group's bassist since the Night Time days, was replaced by original bassist Youth, who produced the album and released it on his label. Compared to the newfound intensity of Extremities, Pandemonium partially steps away from the neo-industrial/thrash of that effort for a more varied, often quite surprising experience. With no one drummer replacing Atkins, the threesome works with a number of performers, Coleman in particular bringing in some of the Egyptian musicians whom he has worked with on a variety of projects, including his collaborative work with Anne Dudley. Noted percussionist Hossam Ramzy takes a key role, replacing the frenetic fire of Ferguson's work with a subtler, more textured approach, while Aboud Abdel's violin further gives Pandemonium a haunting edge, aiming to some extent at recreating the epic, mysterious stomp of Led Zeppelin's "Kashmir" for a newer day. Elsewhere, the straight-ahead rampage of "Exorcism" and "Whiteout" show that Killing Joke hasn't forgotten the power of sheer intensity, and if Ferguson's sheer power and inventiveness is missed the most here, the results are still a thrilling, fierce listen. The core Coleman/Geordie partnership remains strong, the latter at points holding back on his more scalpel-sharp approach for a thicker, overdubbed flow, sometimes — as on "Jana" — finding a friendly, open style that revisits the radio-friendly AOR days of the band without actually sucking. In turn, Coleman slides between his declamatory persona and the closer, more controlled style of later efforts; the combination — as on the striking, massive wallop of "Communion" — can be incredible, the contrast between the verses and searing choruses proving captivating.
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| Darksage | Дата: Воскресенье, 20.08.2017, 19:49 | Сообщение # 10 |
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|  Killing Joke - DemocracyГод:1996 Tracklist 01 - Savage Freedom 02 - Democracy 03 - Prozac People 04 - Lanterns 05 - Aeon 06 - Pilgrimage 07 - Intellect 08 - Medicine Wheel 09 - Absent Friends 10 - Another Bloody Election Доступно только для пользователейЦитата Review by Jack Rabid
Killing Joke's best album in 11 years is a major surprise. While the other two LPs since their comeback (after a brief breakup in 1988) refocused the group on heavy guitars and contained several great songs, this time they put it all together. For good measure, they throw out the minor, pesky metal-isms that lurked throughout 1994's Pandemonium. Instead, Democracy returns them to the assault and battery of their seminal, self-titled 1980 debut (and, like that classic, Killing Joke effectively play with tribal rhythms here, on the incessant "Intellect" and the hypnotic "Aeon"), only filtered through the bigger, larger, exalted guitar reverberation of their last truly incredible LP, 1985's Nighttime. Credit returned original bassist Youth (now a noted producer) for the dark, immense, bonfire sound of this monster. The choruses of "Democracy" and "Prozac People" storm, led by Jaz Coleman's maniacal, red-throated doomsday voice, and Geordie's apocalyptic chords. "Pilgrimage" duck-steps brilliantly with real swing. And best of all, the closing "Another Bloody Election" is a brutal, barbarous, bloodthirsty shellacking, the hardest, most vicious, ghastly onslaught they've ever perpetrated (and that's saying plenty), as Coleman fumes over the futility of the pathetic political process with an acute mixture of unchecked, furious ire and helplessness. It's just the final hammer blow of primal urgency from an 18-year-old band that has completely refound their singular thunder (the kind Nirvana filched for "Come as You Are," as per the settled lawsuit) on this, their tenth album.
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