[kj] Positive Edinburgh Review: From the Scotsman

[Brendan]

Fuck that, I say we release B. Oliver Sheppherd on him.



>

> 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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