Killing Joke
Eighties

THE REVIEW

Cover "very cool." Band and title are promising. We are witnessing the release of an interesting single at an important period for a group.

We're not at initial exams. We are in 1985, with several years now passed since the debut days of "Wardance" and "Requiem." "Night Time" proves to be an unspectacular album, embellished just by singles, like that gothic pavilion of "Love Like Blood."

"Eighties" is the piece expected, needed in that historical moment. Post punk has more or less faded and we can't concede victory to synth pop or the disappointment of a better world so fiercely fought for. Berlin is still divided. All the futurism, the dawn of a truly formidable era, and grand dreams are giving way to disappointment.

Killing Joke has always been dark and politically ambiguous. In live performances, some say, there's always a tense atmosphere, maybe, fascist. But who knows..

All that is debatable, wrong, or bigoted that persists in "modern" society is wisely woven into the lyrics. The video is fantastic. Jaz Coleman is a promising, violent, provocative politician, enriched by the crowd in front of the TV or in the square ready to idolize him.

Some say the riff is very similar to "Come As You Are," but this is no excuse to blindly incite the Killing's track. The song has its own identity, living a personal line, even though it lacks surprising bursts like in the old days. The pace is sustained, but especially noteworthy is the fine sound of Kevin Walker's guitar. We are in dark territories leaning towards the rock format.

The structure could quickly descend into the banal or already heard, but this doesn't happen with Killing Joke. Surely after "Night Time" begins the band's descending phase, where it will be saved just by "Sanity" and "Adorations."

Beautiful rediscoveries from the past-ast-st-st.