Killing Joke (Caroline/EMI) 80
Killing Joke, What's THIS for...! (Caroline/EMI) 81
Killing Joke, Revelations (Caroline/EMI) 82
Starting early on (1978) with a strong concept of how his band should sound (“define the exquisite beauty of the atomic age…like the earth vomiting”), Jaz Coleman and Killing Joke did quite well with their singular sound of tribal drumming and a heavy wall of electronic and guitar sounds that signify an impending apocalyptic doom at the hands of either alien invaders or our own stupidity. They emerged fully formed for the first self-titled full length. While some sneered that they took a small facet of the grey, metallic dirges of Joy Division and Public Image Ltd. and pounded it into oblivion, this isn’t necessarily a bad thing. Just as the Ramones and Motörhead maintained a singular sound, tweaking it only slightly during their long careers, Killing Joke created a fertile template with their first album, inspiring bands like Big Black, Metallica, Ministry, Jane’s Addiction, Fugazi and Nine Inch Nails. “Requiem” displays one of the most powerful synthesizer intros ever to kick off an album. With this remaster it seems virtually earthshaking. “Wardance” is an early single and a succinct example of their martial beat and buzzing guitar sound. Like The Birthday Party's Rowland S. Howard, Geordie successfully repurposed Keith Levene's sinister guitar into his own distinct niche. The apex is “The Weight,” a pounding, repetitive riff and distorted vocals that’s heavier than anything from 1980.
Incredibly, the band was dissatisfied with the effort, labeling it as “weak.” Knowing they had What’s THIS for…! in the can, one can hear why. The thundering drums sound like falling mountains on “Unspeakable,” while “Follow The Leaders” is nearly catchy. There’s some experimentation too, such as the frenzied samples of “Who Told You How?” that sound like a cross between Savage Republic and Chrome. “Butcher” explores a slower tempo, sounding like a tribute to one of their inspirations, Joy Division. Aside from those variations, the general lack of melody and hooks makes it difficult to listen all the way through. Recorded in Berlin with Conny Plank, Revelations (1982) tones down the intensity slightly. While the sound is overall more crystalline than the earlier, dirty sounding efforts, the repetition and lack of diversity is less of a virtue here. The biggest standout is “Empire Song.” Despite spending some time in Iceland because they thought the world was ending, Killing Joke would continue to tone down their sound throughout the 80s with varying success. After taking a break from the band and working as a classical composer, Coleman reunited Killing Joke in the late 90s. In 2003 they came back strong with another self titled album. Jaz the wild-eyed apocalyptic seer is back.
