Pylon (Deluxe) Killing Joke

• 1Autonomous Zone06:43
• 2Dawn Of The Hive06:28
• 3New Cold War06:51
• 4Euphoria04:16
• 5New Jerusalem06:10
• 6War On Freedom04:40
• 7Big Buzz05:02
• 8Delete05:00
• 9I Am The Virus05:38
• 10Into The Unknown06:15
• 11Apotheosis06:25
• 12Plague05:50
• 13Star Spangled05:30
• 14Panopticon08:45
• 15Snakedance (Youth 'Rattlesnake Dub' Remix)07:55
• Total Runtime01:31:28

Info zu Pylon (Deluxe)

Ein unerwarteter Überraschungskiller ist das 16te Album der ja eigentlich nie qualitativ nachlassenden KJ, die seit 2 Alben ja wieder in Originalbesetzung unterwegs sind. So fokussiert, so entschlossen, so auf den Punkt habe ich die Band mit ihrer leicht metallischen Mischung aus Post-Punk und Industrial tatsächlich nicht mehr seit "Extremities Dirt..." Anfang der 90er nicht mehr gehört. Die Mischung ist perfekt und erzeugt nicht wenige Schauer. Jaz Coleman hat seine auf den letzten beiden Alben angeschlagen klingende Stimme wieder besser im Griff, mit oder ohne technische oder sonstige Helferlein, und Geordie´s Gitarrenriffing ist einfach nur groß mit dieser unwiderstehlichen Mischung aus breitem Schlepp-Schritt und am Gaumen kitzelnden Thrill, wie man ihn in dieser Art vielleicht nur bei KJ findet. Und es gibt hier auch nicht wenige Nummern, bei denen sich die Faszination dadurch ergibt, daß das Riffing monoton sich um sich selbst dreht und dabei die Intensitäten immer wieder grandios gesteigert werden. Herrliche Gitarren-Noiseteppiche liegen auf den in ihren Intensitäten unterschiedlich pushenden Drums, die vereinzelt eingesetzten Keyboards für zusätzliche Unheimlichkeit setzen und Coleman klingt, als ob seine Stimme durch einen Jungbrunnen am Eingang der Abyss gegangen ist. Das Album gipfelt in einem grandiosen Blick in die Endlosigkeit bei "Into the Unknown".

Youth zum Album Titel "Pylon": “It’s simple… Stark brutal industrial suicide… This is the third in a triptych of albums, Absolute Dissent, MMXII and now Pylon… heavy and uncompromising, bleak dystopian lyrics, as well as some visionary celebration… lots of black pain emotion. To be honest, we remain genre blind so our music will always cover a vast spectrum of influences, from disco right through to heavy metal and beyond…”

Killing Joke

Killing Joke
Heavy and slow, Killing Joke (at least early in their career) were a quasi-metal band dancing to a tune of doom and gloom. They eventually became less heavy and more arty (the latter seems almost impossible) -- more danceable, even -- but early on they made some urgent slabs of molten dynamite that oozed with the power of thick guitars, thudding drums, and over the top singing. The origins of Killing Joke lie in the Matt Stagger Band. Paul Ferguson was drumming for the group when he met Jaz Coleman (vocals, keyboards) in the late '70s. Coleman joined the Matt Stagger Band briefly, but soon he and Ferguson split to form Killing Joke in late 1978. The duo recruited bassist Youth (born Martin Glover Youth), who had previously played with the punk group the Rage, and guitarist Geordie (born Kevin Walker) to complete the band's lineup. Killing Joke moved to Notting Hill Gate and recorded their debut EP, Almost Red, with money borrowed from Coleman's girlfriend at the time. BBC disc jockey John Peel was impressed by the EP and offered the group a session on his show, which became one of the most popular shows he broadcast in the late '70s. By the end of 1979, the group had signed with Island Records, who allowed them to set up their own label, Malicious Damage.

Killing Joke released "Wardance," their debut single on Malicious Damage, in February of 1980. Following its release, Killing Joke and Malicious Damage switched from Island Records to EG and the band released their eponymous debut album. The group began playing shows regularly throughout England and gained a reputation for being controversial. Their artwork often featured repulsive or inflammatory images, and after one of their concert posters pictured the Pope blessing legions of Nazis, the group was banned from performing a concert in Glasgow. Despite the controversy, the group began amassing a following of both punk and disco fans with hard-edged but danceable singles like "Psyche" and "Follow the Leader." The band released its second album, What's THIS For...!, in 1981.

After recording and releasing the group's third album, 1982's Revelations, Jaz Coleman -- who had developed an obsession with the occult -- decided that the Apocalypse was near, so he left the group and ran away to Iceland with Geordie. While in Iceland, Coleman and Geordie worked with a number of Icelandic bands, most notably Theyr, which would later evolve into The Sugarcubes. Youth followed Coleman to Iceland shortly after his departure. After a few months with no sign of the end of the world, Youth returned to England and formed Brilliant with Ferguson. However, Ferguson left shortly after the group's formation and moved to Iceland with Killing Joke's new bassist, Paul Raven. Youth continued playing with Brilliant, while Killing Joke's new lineup -- featuring Coleman, Geordie, Ferguson, and Raven -- worked in Iceland for a brief period. Soon, the group returned to England and recorded Fire Dances, which was released in 1983. Fire Dances demonstrated a calmer, more straightforward band than the one showcased on the group's earlier records.

For the rest of the '80s, Killing Joke continued to release albums, all of which failed to regain the audience they had in the early '80s. After 1988's Outside the Gate, the group broke up, only to reunite two years later for Extremities, Dirt & Various Repressed Emotions. Extremities featured a new drummer, Martin Atkins, and returned the band to the noisy dance experiments of their earlier records. Following its release, the group took a four-year break. In 1994, Killing Joke re-formed as a trio with Coleman, Geordie, and Youth and the group released Pandemonium, a harder-edged, heavier album than its previous records. Democracy (1996), a second self-titled album (2003), and the live celebration XXV Gathering! followed. After opening for the reunited Mötley Crüe on a 2004 tour of the U.K., the band settled in Prague to record its next album, Hosannas from the Basement of Hell, which appeared in 2006. In October of 2007, Paul Raven died of heart failure in Geneva, Switzerland. The original lineup of Coleman, Geordie, Youth, and Paul Ferguson all attended the funeral and decided to reunite in honour of both Raven and Killing Joke. After a worldwide tour, this lineup entered the studio and recorded the 2010 release Absolute Dissent. Touring and archival releases kept the band busy for the next few years with The Singles Collection: 1979-2012 arriving in 2013, while 2014 saw the release of both the remix set In Dub and the live album Down by the River. The reunited Killing Joke remained prolific, issuing a powerful new studio album, Pylon, in October 2015

Dieses Album enthält kein Booklet