Existing on the fringes of alternative rock, metal, and post-punk since 2002, English punks Headcount have released their 4th studio album, and it's a welcome change from metallic poses and hipster indie rock. Featuring legendary Adam & The Ants guitarist Marco Pirroni, "Lullabies For Dogs" is a heavy and smart assault on the senses.
Opening with an atmospheric intro, "Liar" begins things with a near industrial backbeat alongside a chugging rock bass and guitar thunk. They've been compared to Therapy?, and that comparison does hold some weight. Lead single "News Corpse" follows, and it's a solid post-punk stormer that reminds me of Killing Joke or Prong almost. But this isn't a case of Headcount aping those bands, mind you. I needn't say that they have serious ties with the KJ boys going back some years, working with Paul Raven and recording for Mike Coles' Malicious Damage Records. Anyhow, the following tracks also exhibit a fiery, intense predilection for taut bass and drums, punk-tinged vocals, and moody but aggressive post-punk guitars. A strong, sturdy album of hard rock grooves for a more forward-thinking audience.
This rare and long out-of-print live album documents the band's 1986 Reading Festival appearance (and three cuts from a 1985 gig in London, oddly). Though it's certainly not essential, it is a curiosity for serious fans.
The "Brighter Than A Thousand Suns" era, which this disc captures, saw the band in the middle of it's much-berated bloated synth-pop faze, with excessive keyboards dominating the mix (sometimes at the expense of Geordie's guitars), and Jaz's melodic vocals becoming more prominent. Old-time punk fans screamed "sellout" -- and that didn't seem too far from the truth. The band's smoothed-out studio sound isn't quite as evident here, fortunately, as the Joke do parade out classics like "Requiem", "Complications", "Wardance", and "Tension". On the other hand, we may never again hear a live version of "Sanity", and tracks like "Twilight Of The Mortals", "Chessboards", or "Love Of The Masses" are hardly live staples, either.
So, to sum this one up, it's a decent period piece for collectors, but anyone else is urged to avoid this one, and pick up more representative live KJ albums like "Ha!" or the massive 4xCD set, "The Gathering 2008", either of which possess prime Killing Joke wallop and vitriol. (Windsong International)
Another trailer for the upcoming Killing Joke movie, "The Death And Resurrection Show". This, along with the similarly-awaited Ministry documentary, "Fix", top my "most wanted" on DVD list this coming year. See what you think, and don't be afraid to comment.
Now, this is something I will need to see and experience...possibly the most intense and fiercely intelligent aggressive rock act in the world, the mighty Killing Joke are profiled and documented in this upcoming feature-length film. Check this trailer and see what you think. Wow. I am impressed and anxious.
It's been said that in times of worldly distress, the mighty Killing Joke reconvene to ignite the fires of dissent. Their voice is one founded upon the reactionary climate of punk, and tempered by literature, poetry, and ancient history (and prophecy). They're a powerful conglomerate of influences, and "Absolute Dissent" is the band's most aggressive, emotional, and fearless release in some time.
The original lineup of Killing Joke assembled for the first time in 25+ years for this recording, and the intensity and unbridled passion are as strong as ever. Lead madman (and sometimes-classical composer) Jaz Coleman spouts off intelligent political discourse and borderline demonic ranting like no other. The opening title track recalls the band's early days, with Geordie Walker's distinctive grinding, choppy guitar and a a walloping, catchy chorus. That's not to mention the huge drums, courtesy of Big Paul Ferguson. Bassist (and now name producer) Youth returns with his dub-inspired low-end. It's crowned with Coleman's caustic seething rants (and his well-honed melodic voice as well). An effective lead-off track, for certain.
"The Great Cull" is a monster of sludgy grind and pound, with a vision of a Malthusian future where behind-the-scenes players manipulate the general masses via food, immunizations, and other means to control the overpopulation zeitgeist. Ominous, scary, and, unfortunately, likely very real conspiracy. There are no easy answers, but within the context of rock music, Coleman and Killing Joke stand head and shoulders above the rest, intellectually if not musically. "In Excelsis" is one of my favorites, being a spirited wall of noise that can't obscure an unmistakably sorrowful (yet simple) two-chord melody. Another brilliant track. "European Super State" needs no explanation, but the group here explores a club-worthy proto-industrial groove, and it works beautifully, coming across as more intense and aggressive than anything Ministry have done in years.
"The Raven King" honors former KJ bassist Paul Raven, who unexpectedly passed away in 2007. This is the emotional highlight of the record, and a touching tribute to Raven's swaggering persona and the love his friends had for him. Swells of guitar and keyboards amplify Coleman's poetic reflections. Other strong points include the fiery "Depthcharge", and the dubby closer, "Ghosts Of Ladbroke Grove". I could go on and on, as this is among my most-played releases of the last year. Amazing, brutal, intelligent, catchy, and monumental, "Absolute Dissent" is a triumph however you cut it. (Spinefarm Records)
Taking their name from the scientific term for the syphilis virus, French industrial metal act Treponem Pal have been active for some years, and have seen a career littered with highs and lows. Often seen as a kid brother of sorts to their mentors/friends in Swiss avante-rock act the Young Gods, they have created some of the finest music of their genre, and they are back after an 11-year absence with a new CD. This is my quick-step assessment of their major recorded works up to now.
"Treponem Pal" CD (1989) - This raw debut was produced by Young Gods vocalist Franz Treichler, and indeed, it does echo that group's gutteral, explosive rock vibe. Vocalist Marco Neves' vocals are even a similar tone to Franz's. Nonetheless, the band's penchant for SWANS-style slow-burn grooves are obvious, as well as their prog-rock ala Voivod elements. Listen to "Slow Man" and hear for yourself their SWANS fixation in full effect. If you can get past some rather silly lyrics (who can forget the album's closer, "Soft Mouth Vagina"?), you may be surprised that this album holds up fairly well today.
"Aggravation" CD (1991) - My initial introduction to this smoldering aggro-metal act, "Aggravation" boasts production by former SWANS drummer Roli Mossimann. It's denser, heavier, and more guitar-heavy than it's predecessor. "Rest Is A War" is all-out war indeed, while the thrashy "Fugitive Soul" throws in some killer guitar samplings among the live instruments. Here is where the group really picks up some steam. There are still some slower grinding moments, but the band goes more metal here, with slicing guitars and thumping grooves. "TV Matic" is Voivod meets Young Gods, and works nicely that way, thank you very much. Their cover of Kraftwerk's immortal "Radioactivity" works surprisingly well, too. The start of something great.
"Excess And Overdrive" CD (1993) - With Treichler returning to the producer's chair, this remains the band's tour-de-force. I spent a lot of time in the 90's listening to post-Wax Trax! industrial rock and metal, and this album rates very highly, indeed. A shame it's been mostly ignored and unheard by many of those who would've made T.Pal major stars back in the day. "Out Of Reach" is a scalding, hot anthem of electronic-tinged metal. Every bit as powerful as Ministry ever were, the single, "Pushing You Too Far" is catchy, omnipotent, and combines the group's influences the most cohesively. It's simultaneously slow and brooding, then bombastic and grinding. It's no wonder Al Jourgensen drafted guitarist Michel Bassin for a Ministry tour during this era. The title track is a massive SWANS slave-grind, and "Sometimes" lashes this dissonant sludginess to a stomping metal groove. From start to finish, this is a stomping monolith of crushing mecha-metal madness, with a furious sense of urgency and swollen aggression. One of my personal favorite industrial-metal albums of all-time, seriously.
"Higher" CD" (1997) - The band was on a roll with "Excess", but for some reason, it took 4 years for this one to finally see release, and on a major label, no less. Well, this is where the band's momentum stopped abruptly. I blame part of that on the weak production of KMFDM's Sasha Konietzko, which managed to completely subdue and neuter Treponem Pal's hard-driving sound. "Higher" as an album sounds plastic, puerile, and like KMFDM with a different vocalist. The dubby-reggae sounds of "Panorama" or "Freetribe" are likely the doing of vocalist Neves, who went on, after this album, to work as dub project Elephant System, but the KMFDM production makes it all sound flat and bland. And we won't discuss their cover of "Funky Town". Sad to see the band fall so far.
"Weird Machine" CD (2008) - After 11 years away, Neves returns, with a new lineup, bolstered by the addition of some genre heavyweights -- bassist Paul Raven (Killing Joke, Prong, etc., who, sadly, passed away while recording for this album) and drummer Ted Parsons (SWANS, Godflesh). This is the group's strongest showing since "Excess And Overdrive", with songs like "Planet Crash" returning to the band's original heavy rock sound. "Hardcore Massive Soldier" recycles lyrics from past T.Pal songs, as well as referencing Sonic Youth, among others. "Mad Box" is a cover of the track "The Box" from the band's debut album, and there's more big rock songs like "Human Attack", which balance the group's "Excess"-era sounds with electronic underpinnings. Marco's vocals are appropriately gutteral and harsh, and this proves that Treponem Pal is back with a vengeance. "Weird Machine", though it's not seen release in the states at all, is certainly worth looking for if you've ever appreciated this band's past works.
This is the first proper solo release from former (?) Fear Factory frontman Burton C. Bell, and it manages to move pretty far from the thrashy, electro-tinged death metal of Fear Factory. With John Bechdel (ex-Prong) on most of the musical programming, "Numinosum" is Burton's attempt to show off his more melodic vocals in a more subdued, song-oriented arena. To some degree, it works, but not entirely. Songs like the almost-epic "Evading" are synth-heavy, and almost new-wavey, but not wimpy or fey at all. Think Killing Joke's more 'pop' songs, and you won't be too far off. It's sad, sometimes mellow, and only effective part of the time. "Canon For My Beloved" almost reaches some dizzying heights, but just never quite makes it to these ears. Maybe it's the dated drum sound/programming...maybe it's Bell's limited vocal capacity. I hear a great album from Bell, but this is not the one. I admire his gutsiness in possibly alienating many of his metalhead fans. "Moonshine" is a pretty, shimmery, minor key pop song, for example. Perhaps even more surprising is the group's cover of "The Sounds Of Silence" (yes, that one), which could/should have been catastrophic, but Bell and Bechdel and company keep it faithful and close, and thus this is an unlikely success. Bell's lofty aspirations haven't quite been reached with this unsteady album, but it's a good place to start, and hints at some greatness yet to come. (13th Planet)
When Martin Atkins enlisted the considerable talents (not to mention pedigrees) of Jah Wobble (PIL), Geordie Walker (Killing Joke), and Chris Connelly for his Damage Manual project, the result was a startlingly powerful EP. What followed was a lesser LP, then a slew of remixes, dub versions, and recycled releases that really put some tarnish on this landmark post-punk 'band''s "public image". This video is a collection of Atkins' handi-cam tapes from the original sessions. There's what seems like an endless array of in-studio footage, from raw takes, horsing around (leave the damned doorbell buzzer cam alone already!!), photo shoots, Geordie smoking, and unrecognizably muttered comments. Needless to say, regardless of anyone's involvement, this is a fairly tedious watch. Plenty of bored faces, people shuffling about, and unsteady camerawork. Granted, the couple of tracks that the band plays live in the studio are heavy and amazing (what an amazing collision of musicians), but overall this is one for the completists only, and much of it should've stayed in the vault. (Invisible Records /MVD Visual)
It seems that Killing Joke (and/or their past record companies) are pulling out all the stops, reissuing just about everything KJ from years past. Certainly a great thing, as this UK-based act has just about singlehandedly brought together the now-popular collision of post-punk with heavy rock and dark, industrial overtones. This new set of mostly unreleased-on-CD cuts assembles many of the Joke's eighties-era 12" extended and dance mixes on one disc, from their anthemic (and, unfortunately, dated) 'Eighties (Serious Dance Mix)' and the classic 'Love Like Blood (Extended 12" Mix)' to weaker (the new-wavey 'Sanity', 'Stay One Jump Ahead'). Gems like 'Kings And Queens' get some extra bass/drum muscle, whereas 'Wardance (RAF Mix)' is as raw and aggressive as ever. 'A New Day' is another great song (yes, I said song) that gets the extended treatment here a couple of times. No problem with that. Sure, this milder and oh-so-very 80's dance mix material isn't really the best starting point for the curious, as Jaz, Geordie, Raven, and company were to later re-emerge as an even heavier, leaner, and meaner beast on the amazing 'Extremities' album of 1990 - and they continue even today, 25+ years later, with integrity, power, and intelligence. It's not fair to see KJ solely as 80's synth-pop new-wavers (as this collection may have some believe), but for collectors, this selection is golden. (EMI Gold) Killing Joke
When Invisible Records/Pigface honcho Martin Atkins visited China back in 2006, his intention was to 'sign some bands'. His trip ultimately found him in a club which reminded of some great scenes - London late 70's and New York early 80's. Tons of bands, unusual sounds, a diverse 'scene'...no restrictions, pressures, or concessions. Very cool, especially as China's highly restrictive government could easily squash all hope from these musicians (censorship in China is a way of life even more than in supposed 'free societies' like the US).
Along Atkins' way, he encounters trepidation (Westerners are viewed with skepticism to some there, apparently), but he makes some valuable contacts and friends, anyway. His interactions with Chinese rock kids are curious and sometimes a bit standoffish (maybe that's just the language barrier), but he does manage to meet some folks there who are familiar with his Public Image Limited/Killing Joke/Pigface heritage. That's got to be flattering, though you have to wonder how these kids got those records...
As a fascinating intro to the burgeoning Chinese indie scene, this superb documentary chronicles some bands who you will one day hear more from. Atkins is charming, talkative, and quite a fun character to see/hear (somebody give him a talk show already)! And his China Dub Soundsystem mixes smoke. Watch the trailer below to see/hear for yourself.
As in any road trip or extended vacation, there are hitches and problems. We're all entitled to a little bit of crankiness and jetlag. Even when he's tired and things don't go his way, Atkins genuinely wants to expose some of these Chinese bands, and this documentary is a great place to start. It's also a prime glimpse into a world that differs so much from the democratic USA/UK ways of life, but at the same time, it's much the same - artists want to create, and dream. And, of course, they want to rock just as much. Kudos to Atkins for this gem of a film. (Invisible Records/MVD Visual)
Martin Atkins has spent the better part of 30 years touring, recording, performing, networking, running a label, screenprinting, and generally 'fucking it up (pigface)'. He's spent time with a number of pretty damned important bands. (look it up, or read my old Godsend Online interview with him here.)
In essence, Atkins knows his shit.
In-between all this musical work, Martin has been working as a lecturer, and he's now an author. His book, 'Tour Smart', has been hailed as an essential read for bands or artists who are looking at touring and building up a fanbase.
This DVD release, which basically collects a bunch of (mostly brief) clips of Atkins explaining and demonstrating his ideas and experiences, is an entertaining and oftentimes enlightening bit of work. From mapping out and strategizing a tour (his easy 'how-to' here could logically save new bands hundreds of dollars and many hours), to his no-nonsense marketing basics, this DVD is a wise investment indeed, for any musician or artist, regardless of genre or affiliation. Atkins' charismatic and animated personality is down-to-earth, and his tips are easy to grasp. This one's fun to watch if you're a fan of any of Atkins' many musical projects, but it's a must-have if you're starting a band, or even thinking about it. I, personally, am wiser for seeing this one! (Invisible/MVD Visual)
