[kj] Positive Edinburgh Review: From the Scotsman

[Rheinhold Squeegee]

Don't give the Demon Pigeon guy too hard of a time. Based on the rest of his blog, it appears he only listens to / reviews the kind of sad-sack gargle metal that we all find risible. KJ's latest choice of label have pointed many of these unfortunates in our direction, and many more have turned away, confused and disheartened. I imagine Tears for Fears were the only non-metal band he could think of at the time.
 
There are a large volume of people for whom KJ only exist since 1985, or 1994 or 2003.
 
Anyway, here's a nice live review of the Edinburgh show. Yes, it really does say "Killing Joe."
 
http://news.scotsman.com/arts/Music-review-Killing-Joe.6585426.jp
Music review: Killing Joe
 By Fiona Shepherd




KILLING JOKE

PICTURE HOUSE, EDINBURGH

****
To this day, Killing Joke are still the only band to ever really scare me with a performance. Thirty years into their career, they remain a fierce, potent proposition, playing with an almost intimidating intensity to outstrip any of their peers and most of their punk/metal progeny.

Following the untimely death of bassist Paul Raven, they have come full circle with their line-up, reforming the original gang of renegades: bruiser drummer Big Paul Ferguson, Loki-like frontman Jaz Coleman – by day a respected classical composer/arranger, by night a demonic shaman – and, flanking him, the unflappable six-string alchemist Geordie and bassist/world renowned producer Youth. He's the balding, grey-haired guy in the golf visor, by the way.

Together, they generated a piledriving force and inexorable momentum which was by turns thrilling and exhausting.

The majority of this set was plain brute force, with much of the subtlety of Geordie's distinctive guitar sound lost in the totalitarian assault. 

These guys could whip up a mob so easily with declamatory calls-to-arms such as Wardance and the monolithic majesty of Requiem, not to mention Coleman's brief sermons on the economic apocalypse and other philosophical matters rarely addressed by a rock band.
But they could equally incite the none-too-sprightly audience to dance with the underlying funkiness of Love Like Blood and the pagan stomp of Eighties.

Long may they light fires and rage hard.
 		 	   		  
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