[kj] Gig Review : Killing Joke ‘Honour the Fire’ Tour 2022 with support, Imbeciles Rock City Nottingham 29th march 2022 (Metal Planet Music)

[Paul]

https://metalplanetmusic.com/2022/03/gig-review-killing-joke-honour-the-fire-tour-2022-with-support-imbeciles-rock-city-nottingham-29th-march-2022/


*Gig Review : Killing Joke ‘Honour the Fire’ Tour 2022 with support,
Imbeciles Rock City Nottingham 29th march 2022*

[image: 1.jpg]

Review & Photography by Manny Manson for MPM

So, tonight Nottingham is a veritable hive of activity. Its three main
venues are all hosting formidable talent.

The Motorpoint has Royal Blood, that young Drum and Bass duo, the Rescue
Rooms have American blues guitar legend Eric Gales, but it’s to my old
favourite, Rock City, that I’m heading to, for tonight it hosts Notting
Hills band of merry men, Killing Joke.

These British punk, post punk, Industrial Rock, legends are here to play to
a near sold-out venue on their first headline tour in 3 years aptly named
the ‘Honour of Fire’ tour. Having formed in the height of punk-ness(sic) in
1979, yes folks another band that was formed last century. They released
their first album ‘Killing Joke’ in 1980. The 1985 single ‘love like blood’
brought them the success that was so deserved.

Their heavier musical style was a key influence in the development of
Industrial Rock. Amongst their evolving sound, elements of different genres
can be heard such as the synth-pop and the emerging New Wave ‘synth’ sound.
Interestingly these ‘styles’ can be traced back to the Sex Pistols through
the then husband and wife combo of Westwood and McLaren, the pair being
very active in the ‘scene’ at that time.

The band underwent various line-up changes over the years and included a
6yr hiatus, but is now touring once again as the original band. Its not
often that after 44yrs we see an original line up treading the boards. They
celebrated 40yrs with a worldwide tour back in 2018.

Martin Glover, better known as ‘Youth’ did leave the band early on and was
replaced on Bass by Paul Raven, who stayed with them until his sad death in
2007, ‘Youth’ then re-joined the band permanently in 2008 after a couple of
brief appearances over the years. Coleman, in a magazine interview
explained how the reformation came about at Ravens funeral.

“Everything came together when we all met at Ravens funeral. It was funny
the unifying effect it had on all of us. It made us realise our mortality
and how important Killing Joke is to us all.”

So, after 20years absence, Paul Ferguson was back on the drums. 2008 again
saw a world tour and the ‘Peel Sessions 1979-1981’, an album of 17 live
tracks being released in the September of the same year.

Of note, especially at the moment, Foo Fighters Dave Grohl played drums on
the second self-titled album Killing Joke (2003). The band have inspired
several bands over the years. Including the likes of Metallica, Janes
Addiction, Nine Inch Nails and Soundgarden, Hetfield has cited Coleman as
one of his favourite singers. Walkers guitar has said to be have inspired
Kurt Cobain’s guitar style in Nirvana. So, the band are not without note!

Up first is the Anglo-American band ‘The Imbeciles’ This 5-piece put on a
sterling show of alternative post punk indie rock. Tonight, we get to hear
7 of songs off their new album *Imbecelica *which is scheduled for release
on May 19th 2022. The new album is produced by ‘Youth’ Killing Jokes very
own Bass player. Their first album, ‘Imbeciles’, being released back in
February 2020.

With a sound that is full of fuzzy, overdriven guitars and a thumping bass
line, the band deliver the goods. Having changed their style of recent
years from what was classed as more prog rock to a sound they seem happier
with, full of pop punk stabs reminiscent of the Bauhaus era. Butch Dante on
guitar seems at home leaving the vocal duties to American John Kent as he
belts out the lyrics along-side brutalising the bass as he does so.

With three guitars pushing the songs along, and a thumbing drum beat the
delivery seems fresh in an old school kinda way.
[image: 2.jpg]


Kicking off with ‘The Name of The Rose’ you quickly get what the band are
about. The guitars tickle the back of your head as the bassline smacks you
squarely in the chest. Kent’s lyrical delivery dances around the melody as
he fights with his emotions, stepping back from the microphone he rocks
out, who says you can’t have fun in a suit jacket. Smiling as he delivers
it clearly the case.

Moving in to ‘Its Not About You’ we see the band tight and on it Dante is
smashing out the riff on his 30th Street Guitar with its ‘loud’ paint job,
its sound is on the money as next to him Joshua Lattanzi is poised ready to
stomp on his effects pedals as he pulverises his 335. ‘Van Man’ is up next
and again the band are on it, so are the crowd, arms raised they are
totally behind this band as they deliver a stunning set.

Out of the pit it’s time to make notes so I manage to get a vantage point
that gives me a good viewpoint. Cross stick on the snare marks the start of
‘Tiny Blue People’, complemented with crashing cymbals, the suited Kent’s
bass is thundering, tied in with sunglasses wearing Culbert’s kick drum.
[image: 3.jpg]


The guitar solo, distorted and dirty leads into a car horn type sound which
is repeated, clever stuff and the crowd seem to agree as they cheer wildly
as the song finishes. ‘You’re Gonna Wanna’ is up next with a steady vocal
start backed with more cross stick and picked guitar, this is soon joined
by a distorted bass as the song gallops along. More vocal and picked guitar
follows giving it a great indie vibe.

The song then builds strongly as the bass is thrust at the crowd, a
distorted shred of guitar madness rips out, it has an almost Japanese style
riff as the song builds to a shattering finish.

‘I Won’t Let You Down’ doesn’t as its straight into a percussive driving
bass line, the guitars fizzle along in a riff that is as dramatic as it is
repetitive. The guitars of Rice and Lattanzi chug as they harmonise with
the lyrics, a nice touch as it lifts the song.
[image: 4.jpg]


One of the guitars has a nice rolling tremolo effect or is a wah wah, I
can’t see their feet! The song is full of swirling guitar phasing and
dynamic vocal harmonies. With a steady kick drum, the snare builds in
velocity as it brings the vocal back after the short musical interlude.

The Wah’s on the guitar continue as the drum beat builds, first slowly,
then faster and with more energy as it gets louder, great stick control on
the drums give it the much-needed light and shade on such a driven piece.
Kent on bass is now rocking out centre stage as the song builds to an
abrupt end, just leaving the sound of a decaying guitar riff. Love it, a
great tune.

The final song of the set is ‘I’m Not the One’, this has a more upbeat
drive to it, its bouncing beat is so different to the previous song that it
grabs your attention. The whispered vocal is hard to hear though as the
crowd around me have decided to start shouting at each other.
[image: 5.jpg]The harmonized vocal repeats the song title as we get to the
chorus and then we’re back to that great ‘jangly’ guitar sound that dances
along as the bass, unceremoniously hits you firmly in the chest. A genius
song choice to end the set, leave the crowd wanting more and they do, as
they cheer the band as the set is brought to an end.

After the usual quick turn around by the Rock City crew we are ready for
the main act, Killing Joke

Making our way into the pit early, as tripods and cameras have been erected
in one third of the area given. Hopefully they won’t get the crowd doing
anything silly as getting to them from stage left will be a nightmare. The
guys operating them are to hand and seem fully competent in what they’re
doing so no complaints there.
[image: 6.jpg]After an extended wait we get the band sauntering on stage at
21:10 only 10 minutes past the allotted start so we can forgive them for
that. The stage is full of smoke and bathed in that dreaded blue neon
light. Us togs are going to have to fight for anything worth publishing
tonight it would seem.

>From the get go it’s obvious that this is going to be a loud gig, I adjust
my ear plugs because even from so close its rattling my fillings. The
overwhelming bass line is crushing in its delivery as they start off with
‘Love Like War’ from the 1985 album *Night Time*. Coleman, in his
mechanical way, robotically prowls the stage as he delivers the lyric.

Hair across his face he holds the microphone high above his head as he does
so. Geordie has a nonchalant look as he strokes his Gibson, Youth on stage
right is crushing with the delivery from his Rickenbacker bass. The
keyboards seemingly lost in the mix but helping to grind the brutal bass,
and at the back, Ferguson is busy bashing away in almost darkness, his
tribal beat ties in with the staccato riff of Geordie as they go into
‘Wardance’, from the 1980 album* Killing Joke*.
[image: 7.jpg]The tom tom work gives the song a great feel, as the almost
saw-like riff continues. Coleman is directing the crowd as he poses arms
outstretched as they repeatedly shout ‘Wardance’. This is followed by ‘the
Fall of Because’ from *What’s THIS For..!* released in 1981, with its
strangled guitar start, and tom tom beatings, Coleman is soon on it with
his distressed vocal delivery. Yet again this tune is very repetitive in
its musical delivery, you can imagine a great steam punk style machine with
giant cogs just rotating for no specific means spewing out things we don’t
want or need.

Now out of the pit it’s become obvious that the sound isn’t great, I’ve
packed my cameras away and I’m now trying to find a vantage point to hear
the band. I eventually settle on behind the sound board, after all that’s
where the sound is being mixed.

In that time ‘Honour the Fire’, ‘The Pandys Are Coming’ and ‘We Have Joy’
have all played out. And to be honest it’s sounded like one continuous
song. This is by no means a dig at the band in any way, just a sad
indication of how poor the sound was. Its far too loud to start with for a
¾ filled venue.
[image: 8.jpg]Anyways I manage to find my way with the set list ‘Money Is
Not Our God’ from 1990’s *Extremities, Dirt and Various Repressed Emotions*,
chimes up. This sees the stage bathed in blue and green light as Coleman
prowls the stage in his designer boiler suit. The bass drone from the stage
is of apocalyptical proportions. With distorted riffs from keys and guitar
dancing around the thunderous bass of this tortured song about possessions,
Coleman, hand on ear bellows out the lyric, Whoas are repeated back by the
crowd, as a solid, punishing beat crashes into your chest, the song
finishes, brutal!

‘Primitive’ is a trip back to the first self-titled Killing Joke album, is
up next which Coleman informs us is about “turning on each other”. A simple
bass line again smashes you full in the face as angry drum beats blast out,
Youth wanders across the stage as Coleman claws the sky in his mechanical
style. Standing where I am my senses are being pummelled as the constant
brutal bass delivery abuses my very existence. This would be more enjoyable
if the lyric could be heard, sadly its garbled and lost in the mix most
times.

Between songs Coleman shouts out ‘just like yesterday when we were
teenagers’ and we are into ‘Turn to Red’, which appeared on *Absolute Red,* a
1979 EP. A keyboard riff bounces over a storm of bass. Coleman is dancing
around the stage like a robot holding the mic at 90degrees as he sings into
it, his hair, covering his face billows as he does so.
[image: 9.jpg]

The song is full of phased sounds and an angry bass rumble, the ground is
shaking as the hertz filled tsunami sweeps across the floor and bully’s all
in its path. ‘Lord of Chaos’, this is from the new EP Lord of Chaos, takes
over with its fast-paced drum and bass, Coleman squats as he delivers the
vocal in short verses. As the tempo changes, he stands, arms outstretched
he begins to postulate to the crowd, harden fans who have followed the band
from the beginning are loving every dark riff being delivered.

Chaos is being delivered in spades and as the riff becomes familiar, it
takes on a Black Sabbath type edge, Symptom of the Universe one of my
all-time favourites off the Sabotage album, it’s not quite the opening riff
but its close and its well-controlled by the band.

A guitar randomly strums, as Ferguson addresses the hi-hat as ‘Mathematics
of Chaos’, from 1994’s *Pandemonium*, chirps up. A flourish of crash
cymbals and a dirty guitar riff combine to dance over the banging bassline.

The vocal is bathed in ‘echo’ as its cast to the crowd. In front of me a
drunk falls over throwing his beer all over the people alongside, he is
picked up, shrugs and wobbles off for more as swirls of keys and distorted
guitar herald his staggered departure. The guitars are bathed in multiple
spotlights as Coleman, stands in bathed in blue, with his back to the
crowd, as the song finishes, he taps Geordie on the shoulder with a grin.
[image: 10.jpg]A chunky, driving riff cranks up, as ‘The Death and
Resurrection Show, from 2003’s *Killing Joke*, smacks out, as loud as ever,
we must have Spinal Taps PA tonight and everything is on 11. The bass
delivery is again totally anti-social at best, as it tries to rip your
heart from your body. The drums are busy in the back ground but they have
become lost amongst the monster bass drone.

The vocal delivery has become a blur as its undecipherable in the swirling
and whooshing bass which continues to dominate the night. The song has
become an uncomfortable blur. Trying to pick out a line in the vocal to put
you on the right track has become impossible, there’s a break in the music
which, after a pause and cheers, duly starts up again leaving me thinking
its possibly a false end?

I think we are now into ‘Total Invasion’, again from 2003’s *Killing Joke*,
as there’s a radio voice intro which strikes a memory chord that’s not been
obliterated, and then it’s back to a hard, industrial beat as Coleman,
voice full of echo speaks the vocal, crouched down he prowls the stage
beneath flashing lights.

The guitar is full of dirt and menace as Geordie looks on nonchalantly, was
that a yawn? The song builds as Coleman is now shouting the lyric, I’m
unsure of what is being said as the words are not reaching me. This is a
hard and heavy track that’s square on slapping you in the face. ‘Loose
Cannon’ from the same 2003 album follows on with grinding riffs and a bass
beat not to dissimilar to ‘Invasion’. In fact, I’m not sure the song has
changed or if we have had another false end? I’m hoping for some words to
note down so I can look it up later. Either way the relentless mechanical
chugging of sound continues and we get the finish.
[image: 11.jpg]A new beat strikes up, the drums are thunderous, as they
crash out, the lights strobe fast across the stage. The beat is still fast
and tight, sadly the vocal is garbled so the message is lost. The sheer
amount of noise that is being thrust at us must be hurting the ears of
those without earplugs. I have interchangeable cores in mine and I’m
thankful I have the 30db drop centres in, but even with these though it’s
proving a challenge. Those hard-core fans down the front are loving it
though, and that’s what tonight is about, the crush barrier has seen the
best of the fans as they dance and jump about, often with both arms raised,
punching the sky.

‘The Wait’ takes us back to 1980’s *Killing Joke* named album, gives way
and by a process of elimination ‘Pssyche’ from 1980’s *Laugh? I Nearly
Bought One*, starts up. This is also the B-side to ‘Wardance’ played
earlier and is a fitting end to the set.

Bass player, Youth has both hands out stretched as he sings along, the
titanic bass is droning out the vocals, as Ferguson on drums rattles out a
steady hi hat and snare beat, he’s worked hard tonight but made it look
easy when the lighting has managed to hit him sat at the back. Orange spots
are now shining down as the bass bounces along with an end of the world
thud that crushes your ribs into your spine! Stunning effect!
[image: 12.jpg]The band leave the stage as Geordies heavily distorted
guitar screams away in agony, the guitar tech lets it hang in the mix for a
moment before striking the pedal and killing the noise.

With a brief respite now on offer, I look around, there seems to be a sort
of wide-eyed bewilderment amongst those nearby. Despite the poor sound
quality that was just an epic example of a band moving their sound to the
next level. Astonishing! With the usual cheers and cries for more the band
saunter back onto the stage. There is no urgency, these boys have nothing
to prove, they’ve done that with what they’ve just played and judging by
the response, the fans want a lot more of the same.

I fasten in and get ready for the torrent of energy that is coming. The set
list on stage shows there is four more tunes, having seen the previous
night’s set list I’m only counting on any two from the four.

‘Requiem’ , from the original *Killing Joke* album of 1980 is up first,
starting with an abrasive guitar riff and a slow tom beat as Coleman
delivers the lyric, I think we’re getting a few whoas in there as the bass
blurs you vision and senses. Coleman has the Microphone characteristically
held high above his head as he again mechanically roams the stage
delivering staccato lines of verse. Cymbals crash as the lights flash in
time, orange and white against blue.

[image: 13.jpg]

The constant bass drone is there. Industrial Rock is a great description,
it feels like I’ve been in a foundry all night. Crowd favourite
‘Pandemonium’, from the 1994 album of the same name, finishes the set off.
With an element of the middle east, the bass spanks you squarely between
the eyes. The keys I can just make out swirling around as Coleman stomps
around once again, he certainly has gotten his steps in tonight, his head
is shaking as he continues.

The man has delivered a knock out performance all night. Pink star light
spots sweep up across the crowd who are in the moment. The heads are down
the arms are up as they groove to this final song. Colemans finger is in
the air as he accepts the crowd’s cheers and applause, he then returns the
gesture, the music, mechanical in its make-up, continues to sound out as
the band, amongst smoke and lights, casually just walk of the stage. The
synth howl continues as they do so and is stopped by the techs eventually.

Peeling myself off the back wall I stand there watching the fans empty out
of the main hall. Gathering my bag, I exit, listening to what’s being said
around me. It would seem the fans have loved every minute of it, and to be
fair for my first Killing Joke gig it’s been a blast and a rude wake up
call to what I’ve missed over the years, however they have all commented on
how loud it was, some have compared it to the last live performance, 3yrs
ago, and commented on how much better it was.

lockdown has brought a lot of bands back with a renewed vigour and
determination. It’s only the second night of the ‘Honour the Fire’ tour so
a few teething problems are to be expected, when that sound is nailed this
will be the show to beat. A stunning show in the making, get and see them
soon, you know you want too but make sure you have ear plugs, you’ll thank
me afterwards.




[Better quality pictures are on the website, these are reduced for the list
email size limit]
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