Before the hybridization of different genres such as metal and industrial became something of a holy grail for underground musicians, an intermediate genre known as post-punk turned toward an eclectic and more contemplative mode of expression.
Industrial band Killing Joke posted a new track showing them continuing in the IDM/industrial + gothic synthpop + punk/metal hybrid they have developing since 1981. In fact, this track features the lengthy calling-out style choruses which marked their first release.
Iconoclastic and idiosyncratic industrial traditionalists Killing Joke release the video for “Corporate Elect” today in anticipation of their new compilation, The Singles Collection 1979-2012, and riding on the heels of their success last year with their newest full-length MMXII released on Spinefarm Records.
Active since the late 1970s (hence the title), Killing Joke explored the murky zone between punk, metal, synthpop and industrial music. Years before Ministry, Godflesh, Nine Inch Nails or Fear Factory, Killing Joke found their own voice in this nomansland of styles and also found their own voice in terms of content, exploring ideas that most pop music couldn’t articulate much less contemplate.
The Singles Collection 1979-2012 comprises thirty-three career-spanning singles over two CDs with an additional third disc of rarities which includes previously unreleased studio tracks. The limited three-CD version will revert to two CDs containing the singles tracks. The three-disc deluxe and regular two-CD version is set for release via Spinefarm on the new date of June 4, 2013 and can be pre-ordered here.
For more information, visit the band’s official website at www.killingjoke.com.
Staying true to roots is difficult because as time goes on and learning increases, one must necessarily spread wings and soar to more ambitious ground. Killing Joke do both on MMXII, an album that showcases the style of their first album as interpreted through a more modern style and revisiting their influences.
Categorizing Killing Joke has never been easy. They sound like they should be an electronic music band, with spacious beats and future pop song structures, but then they add in guitar which sounds like a lighter version of Amebix, and a distinctly sweet-sour male vocal that gives the music an expansive mood and lightens the sometimes intense distortion on the guitars. They augment this with atmospheric keyboards and a throbbing, pulsing aggro-pop bass groove.
On MMXII, the band get closer to their roots in early electro and British techno pop, using melody to lead the otherwise unstoppable fusion of industrial, pop, punk and rock that they wrap into a final product that is both passionate and furious. While this is no way a metal band, Killing Joke has influenced a good many metal bands because it shares a similar mood: mythological, metaphorical, distanced from the human and yet emotional in the sense of someone watching a lovely mountainside burn in a drought.
As fierce critics of the modern life and its favorite crutches, Killing Joke also have a mood that is more punk than the most righteously self-proclaimed punk. This gives the music a surging quality, between a contemplative Britpop melancholy and harmony, and a driving rage during which the vocals distort to the edge of black or death metal territory. The result is an enclosing wall of sound that catches the listener in its emotion.
MMXII presents an amazingly consistent package. While songs are generally verse-chorus with strategic breaks, and cycle around to circular structures that repeat with changes, they are not consistent and each one has a different set of moods. Like actors playing a role in the drama of the album, each seems like a shard of the glass face reflecting the true experience of this album, which is both elaborate and brilliantly compelling.
This band has been around for two decades. I recently found out about them and recommend the album Ruined from 2014.
If you would enjoy a fusion of Cynic and Satyricon, you should enjoy this. Some of the tracks are less effective than others because the band is experimenting with different song arrangements and techniques. The core of this band is killer chord progressions which are very melodic and form a basis for adding riffs to a song without randomness. The bass guitar playing is most excellent throughout. The vocals are simply effective in context with nice rhythmic placement but fairly generic texture. I give Ruined an A-. I had to deduct a point because there was one track I disliked, “Prey.”
- “Not Competent”: Drummer has some unusual time signatures like early Cynic. This is a great mix on this recording. I like how you can hear the bass guitar. The feel of the double kick drums lacks a bit of groove. There is a great amount of variety in the guitar parts and some nice melodies. The leads early on sound like a Satriani jam slowed down or something. The vocals don’t add much to the recording, but they do not harm it either. And he does a great job of singing in the right spots and not over-doing it. It’s a bit mellow and understated for a black death band, and that actually makes it more relaxing and pleasant to listen to. The riff changes are pretty smooth. However, they lead to surprising places. And the songs suck you in and then end before you are ready for them to. Which keeps me listening to the next track.
- “Redacted”: Here’s more of a tight blast beat type intro with a mellow Killing Joke styled guitar riff over it. Now we finally start hearing some thrash and it rules, but then we get stuck in some doom mire before thrashing again. Around the three minute mark we start to get into some utterly awesome late 80s thrash guitar riffage, but with death metal highs. Then a sudden surprising uptick into a blast-beat outro.
- “Ruined”: An alternate time-signature intro which doesn’t seem to fit in well. Followed by A Perfect Circle Type Riff and then back to the intro again, and then soloing. Not so sure about this tune. Skip.
- “Prey”: A mysterious sounding intro riff which is very enticing. Followed by a double kick groove with a really unusually beautiful sounding chord progression with some nice bass touches also. This song has a very nice riff progression overall and it takes you deeper and deeper into its reality.
- “Wasting Games”: Horror film score-like catchy grinding intro riff rules. Killer slow groovy, heavy riff with some Danzig styled vocals. Nice! Followed by a blast beat. WTF?! This is F’ing weird progression and it conquers. This song should have been like first on the album ha. More hard rock, but different riff (plus blues solo) after that. Oh yeah mama!
- “Orthodoxy”: Grainy whiskey inducing into. Starts to get kind of apocalyptic with a dreary tempo. This song is kinda chill. It’s smooth with a charcoal flavor and its on the rocks. Not sure about going straight into the blast though after that. Oh well. Its a cool riff though at least. Picks up into insane blasting and jazzy chords. Thinking this track would have been better split into two separate shorter tracks. I dig them individually, except for the 6/8 time riff because I hate A Perfect Circle and stuff like that. But that’s over quick and we get a radical sounding simple riff which triumphs. This song is very interesting overall.
- “Downturn”: This song starts with a Gothic sounding blasted riff which is neat. The second riff has a Swedish death metal beat and it rules. I am now wishing they had used that beat way more on the recording because it rules. Around the 1:25 mark there is an extremely nice epic black metal riff which is simply unusually Gothic and melodic sounding. Nicely done. I am confused to why they ruin that mood by putting the technical jazzy stuff afterwards. But then back into black metal riff with Swedish beat again, and at that moment I am loving it.
Greetings, fellow metalheads,
Times seem grim. The orcs have taken Osgilliath and approach the gates of the white city. Western Civilization is still dying, accelerated by democracy and consumerism, but rotten to its core with a lack of hope. Metal once gave that hope by showing us an alternate morality comprised of effective realism and epic mythos. Many of us want to live in that time again, but it will not happen through democracy or consumerism. We must choose our leaders and then all of us participate in restoring and advancing the greatness we have known.
Gothic rock band Fields Of The Nephilim are famous for their ability to mix the industrial-dance edge of underground goth music with the driving guitars of punk and rock. On their newest release, Prophecy, the band go in a new direction — one that will be familiar to metal fans.
A supergroup comprised of members of Amebix and Voivod among other bands, Tau Cross emerged just a few years after Amebix returned with a radio heavy metal album named Sonic Mass in 2011 that used the Iron Maiden styled epic take on heavy metal to deliver a traditional Amebix point of view. That album also revisited the second album from the band back in 1987, Monolith, which showed a Motorhead influence repurposing the raw energy of the crust punk from earlier albums. Together, those two albums from after the “pure” crust era of Amebix demonstrate a direction toward heavy metal that combines the best of the early 1980s with the energy and concrete focus of punk. Tau Cross picks up from that point with a more varied approach, spanning from quality indie rock (non-emo) through modern metal like Filter with a host of minor influences as varied as Killing Joke, Metallica, Celtic folk music and Oi punk. This intensely varied album manages the best form of emotion, which is subtly built and keyed by a shift in the entire song, and not just vocals, creating an avalanche effect once it hits its trigger point and all of the previous material starts making sense in that context. Much of this will appeal to fans of Queenrÿche and other bands who specialize in taking mainstream styles, recombining them, and then dominating them with an ethos that originates in underground punk or metal but thrives in a more listenable form. Vocals are often reminiscent of Nirvana crossed with Minor Threat applied by Motorhead at a later Discharge pace, while guitars alternate between high-speed punk in the style of Cro-Mags but with more on-beat energy, but songwriting comes from the same intensely visual style that appeared on Sonic Mass, as if designed for an epic video that leaves the listener wondering for the next few days if they correctly interpreted the song. Song structures are formed of roughly verse-chorus patterning that is interrupted and redirected at key points, with interludes and pauses. Paranoid and cynical, lyrics seem to reflect a sense of total frustration with the modern condition converted into a bittersweet discovery of meaning in opposing it and going another way. First listen to this album let it be written off as hard rock, much like Monolith at first, but Tau Cross shows the benefit of years of experience in songwriting and working with melody, in addition to more flexible tempo changes and supporting instrumentals, and so takes that style in a more powerful direction. In many ways, this album picks up where the modern mainstream metal like Filter should have gone, which is to take the emotionality of alternative rock, the energy of hardcore and the epic structures of early 80s metal and blend them together into something terrifying and beautiful.
Sometimes great albums happen. Multiple forces converge — influences, musicians, leaders, ideas, opportunities — and everyone involved becomes more than they are. They rise above their mortal lives and create something profound enough to live in, a musical world we want to inhabit and take up its struggles and make it turn into the full potential we see nascent within its objects.
Streetcleaner falls into this category. After a stylistically-inspiring but somewhat deconstructive first EP that never really created a direction of its own except aesthetically, the three individuals who comprise Godflesh returned with a new energy. They combined influences from their fledgling industrial grindcore, indie rock and death metal, and came up with an album resonant with layers of potential. Instead of aiming to destroy melody, they built it from the smallest elements so that it could only be seen when those overlapped and only then often by implication, creating a haunting album like an ancient mansion full of unexplored pathways and secret rooms.
Slowing down their attack, Godflesh carved time into a space through the selective introduction of sounds which then received an ecosystem of other sonic fragments with which to interact, creating an atmosphere that also had form and narrative. From indie rock they borrowed melancholic but affectionate melodies, from death metal complex song structures, and from industrial the sound that genre had always desired to express, namely a machine crushing human hope like a Charles Dickens novel. Together these influences formed a sound like Killing Joke accelerated into apocalyptic nihilism with the raw sonic experimentation of death metal.
Streetcleaner came together like an impossible dream. It borrowed from many musical traditions but the band kept both its own voice and a style specific to the album. What really distinguishes this album however is the content. Streetcleaner captures a range of human emotions in response to the disaster of human emotions that creates our modern world: individualistic selfishness leading to herd behavior empowering vast evils. In putting this into sound, Godflesh opened a dialogue with the darkest parts of our souls and the reason those souls are dark, which is that we know the possibility of light.
The band never concentrated its energy in such a way again. The following album, Pure, went back to a higher concept version of their first EP, but never managed the emotional intensity that the interwoven melodic streams of Streetcleaner brought out among the crushing noise and abrasive battle robot rhythms. They swung back the other way toward indie rock for a few more albums, but those went too far into face-value emotion and lost both intensity and honesty. Eventually the band faded out into a series of projects pursuing influences as most senior underground efforts do. However Streetcleaner remains as the apex of industrial music and the album every dark topics band wishes they could make, as well as a profound influence on the rising black metal movement and the second wave of death metal.
What are Sadistic Metal Reviews? Heavy metal is either art, or like the rest it’s a product to make sad people feel better about their empty and pointless lives. Brutal honesty is all that separates us from that abyss. Remember, tears are a sign that you’ve really reached people…
Nuclear Blast, this is NOT “music to mangle your mind.” This is the AIDS of the music world. Cheap, hokey synths ramble under tepid saccharine guitar melodies while effete whiny crooning that makes Morrissey sound like Tom Warrior radiates in the background. You can just about hear the teenage bedrooms of America, reeking of self-pity and masturbation, where the obese and inbred listen to this. It’s OK, kid, everyone gets turned down by a fleshlight at least once. If you can imagine heavy metal with all of its soul removed, candied like one of those disgusting little fruits in a fruitcake, this would be it. There is nothing here that is metal except under the flimsiest of pretenses. “Evereve” is more like “Summer’s Eve.” Seasons could be a forerunner for HIM. If you ever hear a note of this, you’re going to need hormone replacement therapy.
The cheese of “black metal” circa 1998 is on full display here in this one album. Considering the Dimmu Borgir membership and the touting of a drum performance by Hellhammer circa his “help, I need money and even joined Arcturus” days, you know this will be bad. The vaudevillian sideshow vibe of later Ancient and Cradle of Filth is tricked out to sound like a joyous PG rated sci-fi soundtrack is playing over a rock opera, making this all sound more absurd. Imagine the music from a children’s variety TV show but with some drunk guitarist in the background hammering out heavy metal riffs with black metal stylings as he copulates with close family members while wearing a tutu. If you heard a “black metal” parody in recent times, chances are it sounded like this.
This album brings to mind Dogwin’s Law for metal: as a metal band ages, the probability of it reverting to its influences becomes one. Immolation started out as a speed metal band, then detoured into death metal for a few albums, and now is back to heavy metal but in a simplified form using death metal technique. When they did that cover of Mercyful Fate, it shook something loose, and Immolation thought, “Why spend hours fitting twisty riffs into intricate combinations?” Verse, chorus, break, solo — done! Collect check, buy motorcycle parts. This is the metal equivalent of baby food: over-cooked, pre-ground, sweetened and without any difficult parts. Gone are the wildly imaginative riffs and catcomb-like song structures. Instead it’s The Jets covering Bryan Adams put into power chord riffs. Embarrassed by their own non-output, Immolation tries to hide the emptiness by getting emo on the choruses but nothing can save this pile of paint-by-numbers metal. This is metal’s equivalent of Bangerz with some guy howling along in the background about stuff he read on Infowars.com.
Another case of mid-90s “evolution,” Morgoth ditch the Death Leprosy worship for a sound more akin to Voivod at their most commercial playing Killing Joke at their poppiest. Vocals sound like a parody of Amebix, lots of mumbling and tuneless sung-shouts. Verse-chorus structures and an industrial rock production suggest this band was attempting to cash in on the industrial/cyber image trend of Ministry, Godflesh, and Fetish 69. With waves of label hype behind it, Feel Sorry for the Fanatic failed as only the falsest of marketing hype can. Creating a neutered album with fringe-accessibility to an audience that didn’t exist the year this album was released left the band to fall on its face in embarrassment and dishonorably disband.
This band of hippies in denial have improved in the songwriting department, but by so doing reveal the underlying emo to their music. It’s clearer than ever before that Wolves in the Throne Room were never black metal. This two-song release allows the “post-metal” to shine, but musically “post-metal” is identical to emo, a subset of late hardcore/indie rock hybrids of the late 1980s. Musically, nothing has changed since that time, so if you’ve been in a cave since 1984 you might enjoy this band. These two tracks are far less random than previous Wolves in the Throne Room output. While they try to ape black metal with heavy guitar distortion and howled vocals, in harmony and choice of scale this material would fit in on a Jawbreaker or Rites of Spring album more than any black metal album. In fact it’s a complete sham to ever list this band as black metal because it misses out on what they do well, which is a very slow version of emo. Droning emptiness portrayed with slighly dissonant tracks that sound like self-pity incarnate. It evokes a lot of different feelings that boil down to the same state of suspension, in which mixed-emotions and self-pity that brings self-doubt resolve all things to the same. I wouldn’t recommend this for any metal fan or anyone who remembers the late 1980s.
If you approached a black metal band as if it were a doom metal band, you might end up with something like Solar Deity. Very musically literate in a way that is reminiscent of Necrophobic, with understated melodic riffs and good rhythm, this band nonetheless suffers from a type of drone syndrome where just not enough changes to keep interest, although there’s nothing offensive. Clearly mostly inspired by the first two Gorgoroth albums, Solar Deity attempt to set up a number of songs to narrate and develop theme, and do a reasonable job of it, but their riffs are rather lukewarm and repetition-intensive as is their usage. The result would be great if designed for doom metal, but as black metal ends up being an abrasive drone and sense of confused purpose within otherwise well-composed music. It might be good background music for repetitive tasks. You know, really feel that tedium as you clean water heaters, file taxes or chase hipsters off your front lawn with a shotgun (aim for the knees).
Death metal isn’t hard rock. If it wanted to be hard rock, its members being honest people, it would have elected to simply be that instead. However, there’s a huge market in dressing up regular boring corporate product rock music as something “edgy” like death metal, which still hasn’t been conquered by the civilizing forces of socialization. Like previous Tribulation releases, The Formulas of Death is ambiguously in the death metal realm and in fact treats its death metal elements with ironic scorn. The result is a pretty good hard rock band embedded in a bunch of unnecessary stuff. Get a real vocalist, throw out the token chromatic riffs and d-beats, and re-style this album as something along the lines of early Queensryche or Cinderella and it would be great. This will make just about every “Best of 2013” because people can’t tell the difference between turd and steak tartare but also because it’s catchy. Simple music for simple minds.
If focus groups found a way to slam Sentenced Amok and At the Gates Slaughter of the Soul into a metalcore product that panders to Adult Swim viewers, then Skeleton Witch would be the abomination unleashed. Tired and generic riffs more bound to cliche than tradition power an interchangeable series of mellow-deaf parts stitched into galloping rhythms. Although it appears to be like metal from a distance, I suspect if MC Hammer knew how to play a guitar, he’d come up with something like this. Poppy and bouncy background noise for people who value video games and Comedy Central more than music, Serpents Unleashed might be the sonic equivalent of a middle schooler’s diary: covered in stickers and glitter, but the content within is more than predictable in essence even if not in particulars, and in ten years it will humiliate them if unleashed.
The problem with retro works is context. What was once a whole context is broken down into techniques, “moments,” transitions, tempo changes, riff-archetypes and melodic frameworks, and then reconstituted. However, since there’s no motivation except to be retro, there’s no new context except appearance. Thus the bands doing this tend to default to the simplest elements possible, which are either age-independent but average stuff the original genre tried to escape or conventions of the present age. The result is that you get the same stuff, but someone has covered it in retro-feeling-stuff. The end result is like a bison spray-painted with corporate logos, a contextless mishmash that’s oblivious to its own true nature. Beyond make a credible effort but they are trying to fit riffs together, not use riffs like words or colors on a painting, and as a result, nothing is communicated by frenetic energy, doubt and disorganization. Moments of this release are stunning, but the whole does not add up to much because it’s not about anything.