What's This For . . . !

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Grant, Steven; Sheridan, David; Fasolino, Greg; Robbins, Ira. "TrouserPress.com:: Killing Joke". Trouser Press . Retrieved 25 February 2015. By 1981, the sound had evolved into what one Village Voice critic described as "an ugly, overwhelming, heavy metal-disco fusion that might be the first real advance in HM since The Stooges..." Killing Joke were not impressed by this comment, and quite rightly so. Aside from it being too simplistic (and wrong), the use of the word 'disco' would have been anathema to certain Americans still high from Disco Demolition Night and would have led to the wrong impression of the band as Saturday Night Fever cast offs. Atkins continued with Walker, Raven and the band's live keyboard player, John Bechdel, as the short-lived Murder, Inc., recruiting Scottish vocalist Chris Connelly and reuniting with Ferguson as second drummer.

Killing Joke reform and tour" (PHP). LATEST NEWS. SIDE-LINE.com. 6 March 2008 . Retrieved 14 March 2008. Towards the end of 1988, Coleman and Walker revived the band and began looking for full-time bass players and drummers. First on board was drummer Martin Atkins, who had gained notability in Public Image Ltd. A suitable bass player proved more difficult. Former Smiths member Andy Rourke was hired, then dismissed after only three days. Eventually the band settled on Welsh bass player Dave "Taif" Ball, and played their first gigs in almost two years in December 1988. [31] Touring continued across the UK, Europe and the US until August 1989, when the band took a break to record new material in Germany and allow Coleman time to record Songs from the Victorious City with Anne Dudley of Art of Noise.

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Who Told You How' is a short electro number with tribal percussion and sweeping guitar. A sound collage with a simple question, it's not a million miles away from what the likes of Cabaret Voltaire were doing at the time and acts as both a respite from the grind of 'Madness' and a change of pace. I]t isn’t about anything that you’re ever going to encounter in real life,” Moore said, years after The Killing Joke became recognized as one of the best Batman stories ever told, “because Batman and the Joker are not like any human beings that have ever lived. So there’s no important human information being imparted.” But then Killing Joke always had confidence. They knew there was a power and mysticism that they could tap into to further their vision, as evident by this quote:

The "intelligentsia masquerading as yobs or vice versa" debate blind sighted many at the time, leading them to ignore the rich musical and literary culture around the band. Evolving from the fractured UK punk scene at the end of the 70's, early Killing Joke blended disco and dub into their apocalyptic sound. Hence, fans of The Ruts and Chic could be found in the crowds of their early gigs, alongside the mohican brigade. Their first Peel Session captures this period perfectly.

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Home - Wielka Orkiestra Świątecznej PomocyP". en.wosp.org.pl. Archived from the original on 25 March 2010 . Retrieved 11 August 2014. The last song on the LP, 'Exit' may sound like a more traditional and conventionally 'punky' number, giving some the impression of ending the record on a somewhat optimistic note. But a closer inspection of the lyrics suggest otherwise: "Noise turns darker the moments pass/But the drums keep thundering in familiar way." Ending with a fade out of the drums furthers the point. With 8:30 approaching, drummer Big Paul Ferguson walks onto stage and posits himself behind his drum kit. He limbers up gently as he gets into the right mindset for the gig ahead. It is a few minutes before he is joined onstage by the rest of the band. One band who seem to be more overdue a reappraisal than perhaps any other of the post punk era however are Killing Joke. Their critical pariah status is easy to understand (and, many might say, self-inflicted). They dallied with goth’s theatricality while remaining as threateningly thuggish as The Stranglers meaning their use of make-up alienated nearly everyone but their fiercely devoted hardcore of fans; their spiritual and occult leanings ran in complete opposition to the rationalist humanism of most serious music critics of the day; their eschatological and apocalyptic worldview won them nothing but derision for decades even though reality, sadly, appears to be hell bent on proving them right. They have, by some accounts, not always been the easiest or most pleasant of people to meet in person (though I’ve had nothing but good experiences on that score over the last two decades). But then, all of this stuff is mere ephemera that serves to obscure the real question: are Killing Joke originators and innovators. To me, the answer is an emphatic yes on both accounts. Good call on 'Sons and Fascination/Sister Feelings Call' (although the previous year's 'Empires & Dance' is the definitive SM LP for me). Their last truly great records.

Another great album of 1981 was JuJu by Siouxsie and the Banshees as well as Computer World by Kraftwerk. The last truly great albums by each of those bands. I think the line up change forced on the Banshees in late 79 had opened up their perspective and Geordie was on their initial wish list of desired guitarists (along with Bruce Gilbert of Wire) suggesting they were paying close attention to KJ. 'What's This For...!' passed me by at the time. It was the only Killing Joke album I never owned from the run between their debut and Night Time. The dub version of ‘Follow the Leaders’ was years ahead of it’s time. 'The Fall of Because' has always been a peak of their live set when played. But somehow the band has survived through it all, and with the release of its latest record, MMXII, the original lineup of the group—vocalist-keyboardist Coleman, guitarist Kevin "Geordie" Walker, bassist Martin "Youth" Glover, and drummer Big Paul Ferguson—has created an album that's bleak and compelling, the latest in a long line of career highs. "Most of Killing Joke has been a lesson in, 'First you dream it, then it happens,'" Coleman says. "It's been magical."

On The Go

They assembled in Granada, Spain, to prepare a world tour consisting of two nights in various capital cities of the world, playing a programme of four complete albums. Recordings of the rehearsals were later released as Duende - The Spanish Sessions. The first night was dedicated to their first two albums, Killing Joke and What's THIS For...!, while the second night featured large parts of Pandemonium plus some early Island singles. The world tour began in September in Tokyo and concluded in Chicago in October. [49] a b c Bansal, Andrew (4 July 2013). "Interview With Killing Joke Guitarist Geordie Walker". Metalassault.com . Retrieved 8 August 2014. There is instant recognition for Roi on keyboards as he leads us into the opening song that is ‘Requiem’, and this crowd is instantly hooked. At times I am standing inches away from Jaz as he wanders around the stage, and although he may be staring threateningly over my head for the most part, he occasionally catches my eye. Normally I would be forlornly trying to outstare Jaz but tonight is a celebration of Killing Joke and I can’t help but find myself smiling for large parts of the set. Killing Joke at The 100 Club, London 9.3.23 (pic A. Tonnerre)