Killing Joke
In Excelsis

Perhaps we were still in awe at the news of the sensational return of the original lineup, whose tracks had been lost back in 1982, when Jaz, Geordie, and the revived Youth and Big Paul Ferguson were already embarking on a world tour with incredible performances; as if the 28 years that had separated them had never passed, Killing Joke immediately rediscovered the ritualistic chemistry that accompanied them at their beginnings, and it quickly became clear it wasn’t just a flash in the pan when they announced their return to the studio to compose new material. Moreover, the inspiration was far from exhausted: it seems that around twenty tracks have been recorded in these months, twelve of which should end up on the upcoming album titled "Absolute Dissent". In the meantime, last June saw the release of this e.p. "In Excelsis", five sample episodes, but already capable of making us understand the importance of the event. It should be noted that the only channel chosen for distribution was the internet, a sign that urgency is not about money, but rather, the desire to send their sound ahead, confident in the idea that, shuffle the cards as you may, when reunited after two, five, or thirty years, nothing of the original matrix is lost: because "In Excelsis" sounds damn Killing Joke, like never before.

From the very first listens, it becomes clear that the pulsating core of the collection, despite the title track, lies in the second track, "Endgame": a metallic, corrosive marching beat; Jaz's screams and the sharp production take us back to the sound of "Killing Joke 2003", one of their best works. I would be tempted to bet that this could be the real launching track, a hidden single in the alcove of an e.p. Someone has compared it to "Wilful Days", a piece from 1983, and they’re not wrong: the rhythm, the obsessive drive of the guitars, the angry singing are the same as back then, indeed, the new course seems to have brought even more energy and battling fury; there's still much to say, perhaps even more on a lyrical level, and who knows if truly, "Shot by shot we will start to wake up”, as Jaz sings.

The other episodes in the lineup, while not reaching the level of "Endgame", are still noteworthy. "In Excelsis" and "Kali Yuga" seem to stem from the recent past of the band’s history; the former has a simple structure reminiscent of “This Tribal Antidote” from the latest album "Hosannas from the Basement of Hell"; the latter, however, brings to mind the period of "Democracy", particularly tracks like "Intellect" and "Medicine Wheel". The closing track, "Ghost of Ladbroke Grove", also offered in dub style, with its slow ancestral rite procession and a hefty bass guiding the melodic line, enriches the repertoire with new suggestions.

A final note on the graphic design: it’s intriguing what the nine top-down viewed cans on the cover, one stamped “Killing Joke”, which we find crushed inside beneath the cd, might represent; even the gas mask encrusted with gems will have much to tell us... soon we’ll know everything. For now, we can only applaud this electrifying return of one of the most authentic and original bands the post-punk current has produced, which even with 30 more years behind them still has many, many cartridges to fire... And now, let the fire begin with “Absolute Dissent”!