Killing Joke - MMXII - (April 2nd, 2012)
My introduction to Killing Joke came in 2008, with Pandemonium, its a eclectic shrapnel of guitar tone, heavy on modulated frequency, and pummeling pitch made me an instant devotee. It had a industrial element that bound all the textural sounds together. The attitude is always clear, and mean, yet it evokes a futuristic (then) atmosphere missing in some of the contemporary works.
Killing Joke never cease to amaze me, whether it is in the compositions, or the demeanor, it gives me a visualized organic template which accentuates the course vocals, and the uber tight craftsmanship of the songs.
My journey this year takes me to the new Killing Joke MMXII. Stylistically its a relaxed harmonic record. Much of the bite, is as scathing, and razor sharp, but the overall structure feels subdued. There is a refined element to the prospect, yet Jaz Coleman is showing me that his melancholic, and prose is a pivotal element of which drives song passages. MMXII is more or less tame, yet the directness is heartfelt; whereas I thought and felt Absolute Dissent was mournful, and introspective.
Yet I would have liked MMXII to have had more oomph. Yes MMXII has it's moments, but I feel it fails on its established form. The one caveat here is I love the shit out of the guitar. I love the ambiance, and harmonic touches, and all the layers of Geordie Walker's fretwork. I am super impressed one can still get that with the gruff meaty power, and in my opinion just blows away anything out there today.
Thanks for reading.
B.
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