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Rating: That the Killing Joke was one of the fundamental bands of the post-punk scene and one of the most seminal groups of contemporary rock culture is beyond doubt. From the outset, with the self-titled album, Jaz Coleman and Geordie Walker captured the general attention for successfully overcoming the turn and death of the original punk without completely succumbing to the easy temptations of the British new wave that winked at pop or espoused the ostentatious gothic aesthetic. With ingenious acumen and a completely original mastery of rhythmic structures, Killing Joke managed to blend the tamed energy of punk itself with suburban and tribal suggestions of undeniably higher cultural level.
Amidst more or less sinister attempts by many bands to canonize new trends, Coleman and company pulled themselves out of every current and began an evolutionary path that still remains unique in that context, although often ignored or underestimated by the public and critics. Their records from forty years ago still sound contemporary and charming today, convincing us that their motto (Semper Imitatum Numquam Idem) was adopted without presumption. Killing Joke were undoubtedly among the founding fathers of several new millennium genres.
Night Time, written and realized in 1984, was released the following year and probably represents their most famous creation, especially by virtue of the single Love Like Blood which became a sort of anthem of British dark rock. It also placed well in non-specialized charts, dragging along the rest of the album, namely seven other songs endowed with cohesion and power that were thrilling for those times. Guitar riffs you never tire of, choruses where melody weds liberating rage, lyrics full of political, historical, social, sexual, and esoteric references.
Of this refoundation of the rock's stylistic elements that Killing Joke operated in the first half of the '80s, Night Time may not constitute the basic chapter, but it was the one that summed it up and made it accessible to a larger audience. We think that the theme of the rock-solid closing track Eighties was blatantly copied by Nirvana - in a diluted version - for Come As You Are (with a posthumous settlement of the plagiarism lawsuit). Not a small tribute, considering the crucial relevance grunge had in turn. But we also think of names like NIN or Korn, all indebted to the stylistic ideas Killing Joke pulled out of the hat before 1985.
Apart from the already mentioned Love Like Blood and Eighties, I love to remember the glorious Europe, the acerbic Tabazan, the apocalyptic Darkness Before Dawn and the melancholy Multitudes, true gems that make this album always enjoyable even after countless listens. Jaz Coleman's stentorian and rough voice never loses the accent of a raging despair that seems to invoke the justice of a transcendent destiny. His subtle and never intrusive keyboards run along with the rhythmic flow of Geordie's hefty guitars which fit into the bass and drum-powered locomotive.
And through madness, through terror we must pass
As if waiting for the sunlight that may never arrive
In time we face ourselves with all our flaws and fears
Now that I know the final conflict is inside
I recognize the faces of my friends and hear the call:
"come journey with me through the darkest hour»
Tracklist Lyrics and Videos
01 Night Time (04:56)
Night time - turning out the sun
Countdown - pulsing like a machine
Conflict - cars and people, steel on flesh
Night time - desperations sweat on breath
Bloodstains - night covering the crimes
Daytime - shows the face behind the mask
Showtime - law and order life and death
Funtime - a drunken time where all can lie
Come, come with me, we'll run into the night
Come, come and see, sweet madness of night
Night time - party troops and governments
Clubtime - lovers riches promises
No time - running hiding crying tears
It's night time - and time to run from all your fears
Night time
02 Darkness Before Dawn (05:21)
The lore of elders passes judgement on this waste
And finding me or them does lack accepting fate
And as the moments pass another face arrives
We watch them come and go with speed of passing clouds
Forbidden fruits of dreams that rule our thoughts my love
Of lands untouched and ways to come always maybe
But choking on promises meant for the deal
Thinking again the darkest hour before the dawn
Confirming fears that from the dawn of time have been
Retracing footsteps in dark chambers of grey lands
And through the madness through the terror we must pass
As if awaiting sunlight that may never come
In time we face ourselves with all our faults and fears
Now that i know the final conflict is within
I recognise the faces of my friends and hear the call
"Come journey, journey with me through the darkest hour!"
03 Love Like Blood (06:51)
We must play our lives like soldiers in the field.
The life is short
I'm running faster all the time.
Strength and beauty destined to decay
so cut the rose in full bloom.
Till the fearless come and the act is done
A love like blood
a love like blood.
Till the fearless come and the act is done
A love like blood
a love like blood.
Everyday through all frustration and despair
Love and hate fight with burning hearts.
Till legends live and man is god again
And self-preservation rules the day no more.
We must dream of promised lands and fields
that's never fade in season
As we move towards no end
we leani to die.
Red tears are shed on grey.
Till the fearless come and the act is done
. . .
Till the fearless come and the act is done
. . .
05 Tabazan (04:37)
I've tried to understand the ways of men they taught me
They've lost their values as we define a wealth
Semen and blood is all i've got, investments of a future
I'm searching for a new gold yes i'm searching for a new gold
A voice is calling
Move closer to you - yeah
Virile young men run down the street in havoc singing
"I wish to build, i penetrate, i penetrate"
Restricted sexuality gives birth to worlds of terror
And all the time i'm trying to piece new schemes together - help me
Architects erect erections, monoliths are raised
I love the swollen mound i love the swollen mound
All hail the new seed breeding from our hearts and wombs
And night and day run round in circles following sex instinct
Push it between her legs and stretch the lips mother relieve me
Bodies entwined in human tangle at the point of climax
Shoot forth the new gold and at last reason makes perfect sense
I'm shooting, shooting forth
I'm shooting forth the new gold now - ha!
06 Multitudes (04:59)
The multitude excites, the flags are flown
By fireside the programme starts
And i am running through this madness
And all the time i can't relate
We sit around in rooms we talk our fears
Asking why we should go on
God i try to make ends meet the best i can
Playing rhythms out of time
Far from the multitudes a few will always stand
They don't fit in they don't belong - move on, move on this way
Within disorder i assume my role
Laugh and cry as i accept
Eternal indolence through ages
'til restless souls begin to wake
Perfection within decades of dissatisfaction and disillusion
A means to no end, a means to no end
07 Europe (04:37)
Take up your arms pick up your courage
A black sun is rising as the gods of europe sleep
Come back into your strength awaken
Catastrophes atrocities shall summon you my love
Glory glory how we wait in europe
What have they done, what are they doing?
The place i love so butchered ravaged scarred and raped
The years have passed us still we're fighting
'til once again somewhere green lands shall be in sight
Glory glory how we wait in europe
Glory glory how we watch in europe
The day humanity is over
Let nations east and west tremble at the sight
'til standard bearers' eyes are hungry
And reason dead forever - god let it be soon
08 Eighties (03:50)
Eighties - i'm living in the eighties
Eighties - i have to push, i have to struggle
Eighties - get out of my way, i'm not for sale no more
Eighties - let's kamikaze 'til we get there
And we sang
You do it this way
Eighties - by day we run by night we dance, we do
Eighties - i'm in love with the coming race
Eighties - i've got the best, i'll take all i can get
Eighties - i'm living for the eighties
Eighties - i'm living in the eighties - i push
Eighties - i'm living
Eighties - i'm living in the eighties - i struggle
Eighties - i'm living
Eighties - i'm living
Eighties - i'm living in the eighties
Eighties - i'm living in the eighties - i push
Eighties - push, push, struggle
Eighties - i'm living
Eighties - eighties - i'm living
Eighties - i'm living in the eighties - i push
Eighties - push, push, struggle
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(original lyrics)
Eighties - I'm living in the Eighties
Eighties - I have to push, I prostitute myself
Eighties - I saw the whole world getting anxious
Eighties - I saw the worlds begin to march
And we sang
In these Eighties
Eighties - I'm sitting on a table talking ideals
Eighties - I got the best, I'll take all I can get
Eighties - Here comes the savage day
Eighties - I saw the worlds begin to march
And we sang
In these Eighties
Eighties - I'm living in the Eighties - I push
Eighties - I saw the worlds begin to march
Eighties - I'm living in the Eighties - I struggle
Eighties - I saw the worlds begin to march
Eighties - I'm living in the Eighties - I push
Eighties - I saw the worlds begin to march
Eighties - I'm living in the Eighties - I struggle
Eighties - I saw the worlds begin to march
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Other reviews
By Fidia
"Night Time" is a work that cannot be divided or analyzed piece by piece distinctly. It must be treated and adored as a great work, like when one is dazzled in front of a Renaissance painting or a Gothic cathedral.
I don’t use the phone, I don’t watch television, I still write letters. I don’t belong to this twentieth century, in a certain way. Or maybe it is the century that still has to catch up with me.
By RAW
"Night Time is the album of the big leap for Killing Joke: a fundamental band in the rock, post-punk scene from the eighties onwards."
"It is certainly the most accessible (and always original) work of their entire career as well as their greatest commercial success."
