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If there was ever an underrated band that kick started the early beginnings of the industrial music scene, then it would have to be Killing Joke.
From the release of their debut self titled album in 1980, Killing Joke has been a vehicle for vocalist Jaz Coleman's dark obsession of the occult and impending fear of the apocalypse (So much so that he once moved to Iceland).
While the band released albums throughout the eighties, they eventually split with indifference from both the press, and fans growing dissatisfaction with the groups lack of innovation to move with the times.
1994 saw a reunion, with 'Pandemonium' showing the band in truly stunning form. The follow up, 1996's 'Democracy' however, failed to contain the same magic.
Since then, the only output witnessed in the last seven years from Killing Joke (Apart from side projects and Coleman's symphonic tributes) was the cryptically titled 'Our Last Goodbye' on the benefit album 'Free The West Memphis 3' in 2000.
At long last, Killing Joke have reunited once again, with the line up of Jaz Coleman, Paul Raven (Bass - ex Godflesh and Prong), Geordie (Guitar) and guest drummer, Dave Grohl (Foo Fighters). Despite rumours of both John Dolmayan (System Of A Down) and Danny Carey (Tool) making appearances, it would seem Grohl (A longtime fan) ended up playing to the whole album.
It's appropriate that Killing Joke should give this album a simple title. The sound within the ten tracks has been spared the extravagance of sound that made up their last couple of releases, and returned to the primal ferocity of their early beginnings.
The simple heaviness of 'The Death & Resurrection Show' (The albums initial title) clearly shows that Coleman hasn't lost any of his original manic demeanor or sarcastic view of the world, while 'Total Devastation' brings a totally new, dare I saw demonic, vocal delivery from Coleman.
The fast paced duo of 'Asteroid' and 'Implant' could have easily been lifted from 'Pandemonium', and Geordie's relentless riffing combined with the Raven/Grohl duelling rhythm is the perfect pairing.
The Killing Joke groove of old locks in perfectly in 'Blood On Your Hands' and the lead off single 'Loose Cannon', but it's the slower 'You'll Never Get To Me' that throws the album off a little. Although the song isn't bad by any means, it clearly belongs to 'Democracy' more than this album.
Things are quickly back on track with the glorious chant like 'Seeing Red', while the evil symphonic epic 'Dark Forces' delivers everything Killing Joke promised on their debut.
Delivering the last revelation of Colman's dark imagery is the Ministry sounding 'The House That Pain Built'.
Even if Killing Joke split up once again after this album, this would be a fitting epitaph for this pioneering punk/industrial band.
By: Justin Donnelly
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