Killing Joke Network Magazine Issue 6

December 1998

Hello again from the potentially last Network magazine. Sorry to the 30 or so people that have sent me their money for the next 4 / 5 / 6 issues but unless a few more people want it to carry on then all I can say is (a) either this attempt at keeping something going on the KJ front is a load of overblown shite or (b) There are only 25% of people who are genuinely into reading about the band in whatever form that takes :- i.e. THIS.

To put this another way - I would like to ask everyone who has had, (including this one), four issues - minimum - of the Mag to send me the money for the next few issues. I know that most people have had five before this one but now is the time to go for it again. Believe it or not everyone who has re-subscribed has sent me a great letter with their money. I would like to say a big thank you for the compliments and it does genuinely get me down to let you down. Still, as 'they' say "That's life". However, we live in hope if we die in despair and I am ever hopeful that you may write in so the address (which has been missing from the last few issues) is GPS, PO Box 269, Cheltenham, Glos., GL53 8YF, England. I await your response.

Anyway, back on line and onto this month. This is more like a diary of events because I have seen Jaz a lot in the last few months and each time things have changed. For instance the first time I saw him KJ were going to get together in Morocco later on this year. Then plans changed for everyone and it was delayed until next year. I had a phone call from Jaz today (Sept. 8th) and he tells me that Geordie is coming over from the States and the three of them are meeting up to write and record a few bits. It only goes to show how the best made plans of men and etc. So now the wheels may be in motion at last for some new product to emerge. About bloody time to. (Although saying that, there have been some excellent things happening, ranging from Kashmir to the new work with Vanessa Mae which not a lot of people know about. Put that together with a couple of things in the pipeline which may happen it has been a very productive year.)

Youth has had some great production jobs from the Verve to Guns 'n' Roses and several others listed last issue. Saying all that I guess the best option open to us is to wait and see. There is a Q&A from Youth a few pages on which is not all that new. Patrick was asking the questions, and the answers came back via fax. I have also heard from Larry Bate who is a relatively new member. He is a collector extraordinary of KJ on vinyl. He has a few pages included later on as well. If you want anything then check it out.

Since last time I have calmed down over Big Life. After all is said and done they are only doing their job, and this attempt at keeping the band, and members as ongoing, living beings in just another magazine is really not what they are paid for. So in a way I guess I owe a tiny weenie apology for the things I was ranting on about last time. After all, a mere 25% re-subscription rate says it all really. I was just having one of those days and any target in sight would have done.

I have heard the finished product of the Hinewehi Mohi CD that I mentioned last time. It is good. The release date is sometime next year so if you are into hearing it then you have a couple of months to go. The lyrics are sung in Maori and all the instruments are traditional Maori ones. It is worth checking out because most of the people who have heard it say it is excellent. The party I mentioned may be in Auckland now. Plans change and so by the time 1999 arrives it may actually be somewhere totally different again. (Barry Island knowing my luck) I wait with great hope that it is not cancelled due to 'work commitments'. Wherever it ends up being it is by invitation only. That means don't make plans to go like someone did after reading my page last issue. It is NOT an open invitation.

A meeting must take place so I can get updated on the band. I am arranging to see them when I have a gap in my work. At the moment I am rushed off my feet so it will have to wait for a week or two. I do know that Youth and Jaz are holding a lecture in Glastonbury at the end of this month (October). It will be recorded for release on Youths new label which is being set up to release lectures by various people. How long it will take from the lecture day to the shops is another question. Time will tell (again) as 'they' say.


I have put in some web page with an interview from Roger Dean who, as you probably know, did the artwork for Us & Them and is working on the Onyx CD ROM. There is an interview with Jaz done just after the Kashmir release. This is, I think, the first mention of his Illuminate project. Patrick's interview with Youth and a few reviews by other people. I hope you like it. Next time I will get to finishing the album discography. So, till then farewell and send me you're money if you want the magazine to carry on for another year or two. Unless you have in which case thank you :-)



I've finished work on the new Fireman project which is out in September/October. I am also working with a French band, Les Ritas Mitsouka, as well as a singer called Dido. There is also some underground stuff - Celtic Cross - so I am writing as well as producing at the moment.


I've just returned from the states having started on the new Guns 'n' Roses album.


I doubt we will all be together this side of Christmas. However we will definitely be recording next year and I know it will be the most powerful record we will have done! Meanwhile Geordie is busy sculpting riffs in Detroit, Jaz symphonies in Spain and myself? I see a synergy of hard growling beats and white liquid metal guitars - and some very challenging lyrics. I am currently honing my programming skills.


I've recently bought "A century of recorded poetry" featuring W. B. Yeats, W. H. Auden, Allen Ginsburg etc., its amazing how the intent of the poet's words changes with the way they recite their words, it gives a different emphasis altogether - totally amazing c.d.


There is very little on TV that holds my attention unless it is a good movie or documentary. That 'Ibiza Uncovered' series had me rolling round on the floor. In the US I feel like instant suicide after five minutes of TV, so I tend not to watch it much.


Titanic! Epic sound track and fx. I admit I enjoyed it. The last video was As Good As It Gets - that had me laughing out loud.


Yeah. Rainier Maria Rilke's Book Of Fresh Beginnings. Jerry Lucky's Progressive Rock Files (no mention of Killing Joke in there though!), and Dan Von Der Vat's Life And Lies of Albert Speer - an intriguing and disturbing insight into the Nazi's top architect.


I am a painting!!!!! I'd love to be a De Kooning or a Rothka.


I've written a book of love sonnets.


Most philosophers have some insight, although I do identify with the eastern perspective - I believe you really have to find your own truth, and the only writer to really suggest this was Krishna Murti, who refused to write any books or become the "guru" that people wanted, all that's left is just a collection of talks he gave. The Bhagavad Gita contains most of the principles I believe in. These ideas of course correspond with what is contained within the verses of Tulison and Blake - "God is manifested in nature", "Eternity within a grain of sand" etc., that's where I am really at.


Well, whenever I have a party, and I like a good party!, I always invite my friends and their friends come to, so I find strangers very interesting. Most famous people just require too much attention to be fun.


I can't really think of anyone specifically, hmmm ... a few world leaders maybe, I'd have a few words for them.


um... um... Rock On by David Essex(!!!) (cue raucous laughter in office) although I'm not embarrassed by it. It has the most amazing bass line. It was also the first record I ever bought. After that, I've got a few prog. rock tunes lying around, as well as ... (QUIT WHILE YOU'RE AHEAD MATE)


Psy-trance, or whatever it's currently called has already incorporated drum 'n' bass, electro, ambient, rock and metal. Really it's the music DJs play that's most effective outside for dancing, so that leaves it wide open really. Even Rambling, Okey and other house DJs use it to peak their sets with. I see it as a big influence on other dance genres.


I was thinking how strange and surreal it was that I should be talking to all these executives and stars when they probably didn't have a clue as to who I was, so I kept the speech short!


Open, consistent, committed, confident and humble. Just remember: be yourself (its not as easy as it sounds).


Fresh off the release of his latest orchestral masterpiece, Kashmir: Symphonic Led Zeppelin, Killing Joke's Jaz Coleman already has his sights set on four vastly different projects for his next offerings.

The projects are Illuminate, a spiritual orchestral piece; Pacifica, an album sung in New Zealand's Maori language; a new Killing Joke album; and a symphonic theme for the Australian Olympics in 2000, which he - understandably - admits to not even thinking about yet. Even though Coleman's had an already impressive career as a composer and has received world-wide critical acclaim and commercial success for such works as Us & Them: Symphonic Works of Pink Floyd, which spent 26 weeks atop Billboard's classical chart, he's a bit anxious to work on Killing Joke once again. However, don't expect a full tour -Coleman's not too fond of schlepping around in a tour bus anymore. "I've worked with an orchestra for a long time," says the 37-year-old Coleman. "I just want to go off and experience that white heat of 4,000 fans jumping on top of each other. I need that. I'll never give that up. The three of us live in different countries, but we plan to get together next year, pick a location in the Third World, in the Middle East preferably, and just get in a room, smoke a little, hit the bottle, and have massive arguments, then do it. We don't have anything planned - Killing Joke's more of an impulsive beast."

As for the other projects, they all fall into his non-rock side. Pacifica, which Point Music is aiming for a June release, is an album Coleman is recording in New Zealand with the youngest Maori elder in the country, Hine Wehi Mohi. Gerald, a British jungle artist, is contributing beats for the project. All of the songs, which will use 31 different indigenous instruments such as shells and log drums, will be sung in Maori.

"I want to capture a lifestyle that is the envy of the Northern Hemisphere," says Coleman. "We're essentially making a beach album, with sounds and beats very different than other island cultures. The implications for me doing this go deeper than this. I live in New Zealand, although I was born in the U .K. In my personal belief system, when you emigrate to a country, you don't import your own culture. You have to adopt the culture that exists there. I'm trying to give something back."

Coleman's other - equally complex - project is Illuminate, which is sung in 10 languages, and probably due out later next year on Point Music. "This is the most colossal project I've been involved in by sheer weight of the voices. I wanted to write a piece that really is beyond money and marketing. It is essentially my belief system and devotional in sentiment. I cover an interpretation of certain parts of our history to do with religion ... a journey of the soul and a deep expression of my spirituality. I guess it's the better side of the person that is Jaz Coleman. Sometimes you have to do music that has nothing to do with the market ... do it for the highest of emotions."

A scene from Black Onyx


One of the characters from the Black Onyx CD ROM game.

I have seen parts of the game and believe me, the visuals/animation are phenomenal.

One of the great things about it is that Roger has shown how talent like his will never die. It just improves with time.

The Times Interface Magazine, April 29th 1998


In the pre-punk days of the early Seventies, when bands such as Yes ruled the world of rock; Roger Dean's work was universally recognised. His album covers for the band, which featured mythic beasts in alien landscapes, were synonymous with the music, and his work covered countless bedsit walls. But that was then. Now, Dean is taking his art into new realms. He has formed, with four other people, Magnetic Storm, a multimedia production and publishing company. They have interests in computer games, fantasy and science fiction book publishing. Their first project, The Secret of the Black Onyx, an interactive quest game set in 10th-century Viking Russia, is currently completing its development stage.

"My old work had dated," Dean admits. "There was a new beginning with punk, and everything went." It was, however, only a British rejection. Dean says: "In the States my work just carried on selling more and more." People queue round the block to get into his exhibitions there, and his works - which also include posters, prints, books and cards - have sold 60 million copies world-wide. Now 54, Dean is a modest and unassuming man. He lives in an unpretentious townhouse in Brighton with his wife Maundy and 11-year-old daughter Freyja. He is wearing black jeans, denim shirt and tennis shoes. He is simply and surprisingly "normal". The only clue to his inventive, fertile, offbeat talent is an amused and youthful pair of sparkling eyes.

Dean studied industrial design (furniture) at the Canterbury School of Art before moving on to the Royal College of Art where he graduated with a first. After leaving college he began his work on album cover illustrations. "I consciously chose to do record covers as it was addressing the public directly. The establishment didn't like me, and at that time I enjoyed being the maverick. Luckily, I benefited terrifically from my association with Yes."

Dean often works for 18 hours at a stretch and his work pattern has remained unchanged since he was 17. Some pictures will take him years, others a couple of hours. All of them offer a window into another world, a sort of gothic, science-fiction, fantasy land, yet they spring from down-to-earth roots: "If I had to say what sort of artist I was, I would say a landscape artist. Landscape is my inspiration.

" As a child I was lucky because my father was in the army and we were stationed in Hong Kong from when I was 12 to 14. So I had an interesting exposure to oriental art as well as oriental landscapes. I was lucky again as a student. I walked and climbed all over the West Coast of Scotland and that was hugely inspirational. I never came back without wanting to draw and paint something - usually made up, but the energy came from those landscapes."

"In more recent years I can't get over the scale and bizarre nature of American landscape. It's just phenomenal. Utah is a science-fiction world all on its own. I suppose one other source of inspiration is that I've never seen very well. My eyesight was never brilliant and I often saw things and thought 'My God, that's amazing'. I'd go away and draw it, and maybe the next day I'd see it for real and it wasn't what I thought it was at all."

Dean finds it hard to hold a conversation without a pen in his hand. Even when he goes out to dinner he takes his doodle books with him. His love of art and design is unqualified, his talents so diverse and his character so indefatigable that he always seems to be involved in 101 projects at once. He is a prolific book publisher - everything from fantasy illustration by Syd Mead to a photographic journal of the Rolling Stones by Annie Leibovitz.

Another of his passions is architecture. His vision of the home of the future was recently shown, to great acclaim, at the Tomorrow's World exhibition in the NEC, and there are now plans in progress to build a holiday village of these environmentally friendly homes. For the moment, though, Magnetic Storm is the most exciting thing on the horizon. The Secret of the Black Onyx game features Dean's distinctive landscapes along with music from Youth, Jaz Coleman, Deep Forest and The Verve. Technology for the game was specially created by Alexey Pazhitnov, creator of Tetris.

The company also intends to produce films, something Dean has been asked to do for years. "I've been asked by various film-makers, including people like Dino de Laurentis and Martin Rosen (who made Watership Down). I've also talked with Ridley Scott. But the financial offer to design a film is so ridiculous. Hollywood does not promote designers and artists. If you see a film like The Fifth Element, most of the look of it was designed by a French artist called Mobius.

"Jean Paul Gaultier's name is at the top because they thought he would bring people in - and Mobius's name is down after the person who fetched the coffee. He should be up there with the stars because the look of that film is absolutely created by him."

One day, Dean hopes, we will learn to give the designers the recognition they deserve.

Roger Dean in his studio with the original artwork from Us & Them

The Dragon's Garden

By Roger Dean

In the past, when painting a picture, I would treat it as a window into another world. Where the technique shouldn't obstruct the view. You should just see straight in. Now I don't think like that at all; it surprises me that I ever did. I enjoy the tactile quality of a painting, the texture, stopping at the surface, the feel of it, and to know it's a thing, not just a window. My work is looser now and much more painterly. Once I decide on the theme, I go straight in and paint.

The cover for Us And Them is a Dragon's Garden. It's a complex synthesis of moods and form; not just one idea, reacting to the music. Themes came from the music, personal icons and looking through the history of Pink Floyd. This is my first involvement with them since I shared an apartment with Syd Barrett towards the end of his journey with Pink Floyd. The symphonic sound is surprisingly powerful. I was very curious to hear it. Pink Floyd music being played by someone else, it's inventive and exciting to hear, and played in such a different way. Not just a symphonic version, a very particular version of Pink Floyd. Totally unexpected. Before I heard it I was anticipating something else, less immediate. It's very stormy. For me "Dark Side Of The Moon," as a title, does describe Pink Floyd, powerful and dark. I want to reflect that Image. Before I start painting, I surround myself with sketches. I take sketchbooks everywhere, even to lunch. I've scores of ideas I wanted to use. I was looking for something to carry that stormy feeling. I have had this idea for a menacing and brooding landscape for some time. A great, dark, moody, storm-swept vista. Totally over the top with cascades of lava. So I started. I wasn't sure. I knew the landscape. The idea, of the dragon, I liked; but should it be there. I tried out a half a dozen roughs. The final cover is the one I liked. It went so well I abandoned the idea of starting "The Painting." I'd got the colours, I'd got the look, it kept building. I painted the cypresses - the trees. They looked stronger than expected. It was really good when Rory and Pete said they liked the dragon. The dragon just appeared.

Martin Aktins feature - unknown source

WHEN MARTIN ATKINS founded Invisible Records 10 years ago out of his New Jersey loft, he wasn't looking through money-coloured glasses. He was a drummer and just wanted to make records. "I didn't feel at any point, 'I could do this so much better,"' he said. "But I knew for an absolute fact I couldn't fuck up anybody's career or anybody's music any worse than my music had been fucked up by incompetence. And that's a great place to start from - knowing that you can't do any worse. It's actually a really liberating thing."

The English-born Atkins first became a part of the music industry in 1979, when, at 20, he was playing drums with Public Image Limited. After five years with PIL and a world-wide hit (This is Not a Love Song) as well as a track on Miami Vice (which, Atkins said, "at the time, was the only cool television show - believe it or not,") he "just left," he said, because he "couldn't stand the music business and all the bullshit."

He took a breather for about a year, then founded Invisible. But during the label's first few years, Atkins became very involved in the bands Killing Joke and Ministry. Invisible Records quickly became a side project. However, it was during this time - the 1989-90 Ministry tour, specifically - when, finding himself surrounded by talented musicians like Ogre of Skinny Puppy and Chris Connelly, Atkins spawned the ever-growing Pigface, which ended up becoming Invisible's - and Atkins' - largest project.

The '90s started rolling and Invisible's place on Atkins' list of priorities moved upward. He started churning out albums that he himself had worked on by Murder Inc. and Bizarre Sex Trio. He began to sign other bands, such as the Evil Mothers and Sugarsmack, onto the label as well.

Now, at 38 and a father of two, and with a list of more than 30 bands under the Invisible name, Atkins said he is more excited than he's ever been. Reaping the benefits of his "hyper-entrepreneur mode," Invisible has been releasing record after record, including a new double-CD Pigface album and a Christmas album, The Industrial Christmas Carol. A couple of years ago the label entered an exclusive agreement with Caroline distribution. It now has at least 120 field reps throughout the States and is branching out even more by opening a European office. "This year [1997] has been probably the best year fox the label," Atkins said. "And the thing is, to still be so excited about all of it, after really being in this business for a long time, that makes me feel really good."

Behind every footstep is Atkins, who has been jetting (with a laptop and modem) between Chicago and England every two weeks (with frequent stops in New York City) while he gets the new office in Birmingham, England, underway.

And in spite of all the producing, engineering, drumming, planning, organising and everything else Atkins does, he even finds time to pick up the phones at Invisible's Chicago office. "I can't believe it when you call up a major label at five minutes past 5 and everybody's gone," he said. "You can call somebody up at Invisible at midnight. I love answering the phone at like 2 in the morning. It freaks people out. 'Hello. Invisible,' and it's some drunk guy who wants to leave a nasty message."

Atkins is also busy working on projects such as an upcoming album with Meg Lee Chin and one with the newly named Ritalin (if Atkins can avoid any legal ramifications of using the trademarked drug name, a la the band Thorazine), which is Atkins and Ogre together. Both CDs are due out sometime in 1998. Like an astronomer who's discovered a new galaxy, Atkins describes his time in the studio with Ogre as "spine --goose-bumpy - tingly, very very cool, intimate but cool." It is with this same enthusiasm hat he speaks about the year to come: "Even if I died tomorrow next year would probably be a better year than this year. Tranquillity Base, Scatter and a bunch of really great people are working on Pigface re-mixes ... and there are four other label deals pending - I mean like an inch away. It's been a year of terrific growth -dangerous growth almost - for the label."

This is definitely a change from the direction Invisible Records was heading some years back, The Pigface tours were losing thousands of dollars, and Atkins was spending far too much time partying, he said.

Killing Joke album reviews from Mark Prindle's website

A strange band from Britain. No, the music's not that odd, really - It's the band members who are a little mucked up. They broke up after their third noisy guitar-heavy album because, supposedly, singer Jaz Coleman's paranoia reached such a feverish peak that he fled to Iceland to await the apocalypse. Luckily, guitarist Geordie, presumably overcome by the same strange notion that residence in the country of Iceland would somehow protect one from the devastation of Armageddon, soon followed. Then the drummer came down too.

So? They reformed!!! And recorded their greatest album yet!!! Then they somehow turned into a synth pop band and broke up again after their seventh (and worst) album because of a dispute with their record company. Then, according to legend, singer Jaz Coleman went a little nuts and hired a hitman to kill one of his enemies at the record company or something before stopping himself just in time, - finally realizing that he was simply having a nervous breakdown.

So? They reformed!!! And they were a noisy guitar-heavy band again!!!! Then? They broke up. A couple years later, guitarist Geordie was brought in to help compile a Killing Joke greatest hits album, at which point he contacted the band's original bassist Youth (not his real name), who had quit the band back during that rough Iceland period. Youth offhandedly suggested that they reform the band.

So? They reformed!!! Supposedly they're still together (and still pretty damn good, if I may speak for myself!!), but I'll keep you posted of any new developments in this ridiculous (yet catchy!) musical soap opera.

By the way, if you've read any obnoxious Jaz interviews in which he talks about Killing Joke being the most intense band of all time, or if you grew a little disgusted at the band when they sued Nirvana for no good reason, please keep one thing in mind -we're not talking about normal human beings here. THEY FLED TO ICELAND TO AWAIT THE APOCALYPSE. Roll your eyes all you want, but don't toy with the emotionally disturbed.

Killing Joke -Malicious Damage/EG 1980.

The band started off sounding a lot like early Wire in an alternate universe where The Ramones never happened. Understand? Wire. began their career as arty punks (or punk artistes); Killing Joke began as arty Led Zeppelin fans with a synthesizer. Great stuff, though! Real tight arrangements combine the sterile fuzzy sound of industrial keyboard buzz with the tough raw sound of electric guitar rock before being clobbered over the head with throat-stripping (and occasionally electronically enhanced) British vocals singing depressing ditties like "Requiem," "Wardance," and "Bloodsport" (which, perversely enough, are BY FAR the poppiest tunes on the record). The mix is fantastic and, even today, everything still sounds very fresh and danceable, even when the guitar is chuggin' out vicious Nazareth riffs like "Primitive" (later covered by Helmet!) and "The Wait" (later covered by Metallica).

Not every song registers, unfortunately, but the mix of guitar-driven rock and roll and arty cold wave is an interesting one indeed. Don't get all excited, though they never recorded another album that sounded anything like this (except possibly Pandemonium, but we'll talk about that one later).

Reader Comments

I'll still give this album a 10 though. Every song may not register with Mark, but every song registers with me. I had thought these guys were sort of a lightweight combination of New Order and Kraftwerk. Fun (albeit a little in the Twilight Zone) synth pop. That is until "The Wait" came on. Then I saw the real genius of the music. These guys weren't pansy Liverpool synth freaks like Depeche Mode. These guys were techno punks. And good ones. Man I could go on and on about "The Wait" and just how cool it is. Drums without any hi-hats or cymbals crashing. A nasty guitar riff. A great synth noise in the background. And some truly disturbed and angry vocals and lyrics. It doesn't come off nearly as well on CD as it does on Vinyl. But so what? It's still "The Wait" and it still kicks ass. I'd give this album a 10 for this song alone. Fortunately there are other great tracks like "Complications", "Requiem", "Wardance" and "Bloodsport" but it's "The Wait" that sticks out head and shoulders above the rest. That Metallica version Mark alluded to just is so lame compared to the original (and I heard the cover first and loved it until I heard the first bar of the original).

I don't get the Led Zeppelin reference though. I don't even hear Zep on this album, Kraftwerk? probably. Zep? No way.

Stuart McKay

What's THIS for...! - Malicious Damage/EG 1981.

Totally different. The synths are gone (or at least so quiet you can't hear them at ALL), the mix is horrendous, and the band has adopted a brand new "tribal" kind of feel. But this is a neat sound, see! It's nowhere near as clean and danceable as the first one, but Geordie has created a brand new high-pitched ringing stinging guitar tone that melds creepily with Paul Ferguson's cloppity boppity strong-handed style.

Supposedly all these songs were written in the studio and it shows: this is clearly a band effort, with every song focusing just as much on the rhythm section as the guitar and vocals. Check out "The Fall Of Because," for example. The guitar does almost nothing, but you will never be able to get the "boppa-dooga-doog-BOOMP-BOOMP-BOOMP" drum line out of your head. This carries on throughout the record, and it's actually pretty darn cool. Doesn't sound a wit like Wire! Full-bodied tribal rhythms, weird bendy bass lines. screechy high-end guitar melodies, and more psychotic lyrics about "Tension," "Butchers" and "Madness."

Ever heard the stupid critics' term "VAMPS"? That's what this album is full of. Lengthy songs that have more to do with repetition and hypnotic drumbeats than with verse-chorus constructions. Neat! As with every Killing Joke album, there are a couple of tracks that don't do a whole lot, but who cares? The style is attractive (though definitely ugly, of course), and the majority of the tunes are just fine.

Revelations - Malicious Damage/EG 1982.

Picks up where the last one left off. Same style, but this time. the riffs are cut into individual songs, instead of rambling on and on into vamp territory, or "Transylvania." if I may be entirely unwitty for anyone of what could be several minutes. The band sounds a little weary here, but that's undoubtedly a result of a few too many sleepless nights fighting off the paranoia. Nearly every song refers to the despair and facade of everyday life - society pretending that life is wonderful and happy when it's rotting on the inside. I call it great stuff. Great!

I've seen a few bad reviews of this record, but I totally disagree with any and all complaints. It's dark, dreary and depressing, yet bouncy and slightly danceable -exactly what you might expect from a band called Killing Joke! A couple of songs near the beginning of side two are kind of dull, but the rest of the record stands up to the test of time. Without even studying, ha! In my eyes, this is the coolest style Killing Joke ever had. That high-pitched quivery guitar is something else, dude. My only "ehh" is that it's kinda hard to tell what the bass player's doing. Just a bad mix, that's all. The songs are fine. Weird. It's not difficult to believe that Jaz and Geordie fled to Iceland right before this record was released. Freakers!

Fire Dances - EG 1983.

Following a restful vacation in beautiful Iceland Killing Joke returned to the studio with a new bassist (not that you can hear what he's playing anyway, but that's hardly the issue, goddammit to hell) and recorded a record that umm pretty much sounds exactly the same as the one before it. The guitar is still quivery, high-pitched and reverby, the vocals are still hoarse and semi-sung, and the drums are still doing tribal industrial sort of thingies. What makes this album a wee bit stronger than those before it (and those AFTER it, too!) is the strong melodic sense that they display throughout the record. Whether we're talking about the jolly bounce-around of "The Gathering" or the mind punch of "Frenzy" and/or it's rejuvenating neighbour to the north, the psycho vibes just keep a-crunchin' through and through. When I look at the grand scheme of the world as a whole, I'm not positive that Fire Dances ranks up there with, say, Sticky Fingers, but it's the most successful example of Killing Joke's strongest style (they would change drastically even by their next album), as well as their most consistent album ever. Much more idiosyncratic than Killing Joke, much more succinct than What's THIS For...!, and much more energetic than Revelations, it's absolutely mind-boggling that not a single one of these tunes would end up on the "best of" package. But what are ya gonna do? Pick it up and dance. Or sock your girlfriend in the cheek. No! Don't perform the latter activity!!!

Night Time - EG/Polydor 1985.

Finally, a bit of a stylistic shift! The guitar is still high-pitched and the vocals are still hoarse and British, but now the bass, drums and keyboard accompaniment are thumping along in a corny '80s dance music manner. This wouldn't be a big deal if the song writing was at its usual level, I suppose, but it's not. Half of the album is phenomenal, but the other half is kinda hokey. The title and lead track, for example, has a really stupid melody. Oh well. Did I mention how much cleaner this record is? I mean in every way... The cover is a sleek air-brushed photo of the band, all the song titles are typed nicely instead of scrawled into the cover - even the record label is cleaner!!! (That "Malicious Damage" thing was a bit much, I suppose.) Jaz is singing a tad more on this one, too, which isn't a bad thing; his voice is actually kind of nice. But on rather lifeless tracks like "Darkness Before Dawn" and "Multitudes," it's hardly a relevant touch. Don't yell at me - both songs have great choruses - but a great chorus does not a worthwhile song make. Enough complaints. Regardless of the numbing down of the patented Joke attack, there are still some phenomenal driving tunes on here. "Europe" and "Kings And Queens" are powered by classic Jaz riffs. "Love Like Blood" is an honest-to-goodness EFFECTIVE synth pop tune, and "Eighties," well, we all know that story, right? Kurt Cobain stole the guitar line for "Come As You Are." Granted, the Killers' original number isn't anywhere near as sad and lovely as Nirvarna's, but a nicked riff is a nicked riff. Killing Joke sued and won; apparently they only had to prove that Nirvana had heard of Killing Joke to prove their case, and that was an easy thing to prove as Mr. Cobain had sent the band a Christmas card a few years earlier. Again, when I first heard about this case, I thought to myself, "Jeez, what a bunch of assholes," but now that I know more about the band, I can only wonder how the hell Kurt was planning to get away with ripping off one of the most famous riffs by one of the most psychically disturbed groups ever formed.* "Eighties". is a cool song, by the way, and gets stuck in my head quite often. The album's main downfall is its corny '80s production. Geordie's guitar is still in the fore, but the keyboards and synth drums really do suck a lot of the kick out of this formerly aggressive combo. First underproduction, now overproduction. How damn hard can it be to make an album sound good????

*actually the case was dropped, but think of the mythology angle)

Brighter Than A Thousand Suns -EG/Virgin 1986.

Even synthier than that last one, but let me say something here and this is not something that you would normally expect me to say - Bennies.

Also, these songs are just wonderful. Moody, soaring, and sad, all with unexpectedly beautiful vocals thank you very much to a Coleman no longer requiring himself to shout the cords out. It's a pity the last three songs aren't anywhere near as moving as the first five. In fact, it's those bastard last three songs that suck my numerical grade down to a 7. First five songs rule. Oh sure, they sound like Duran Duran, but open your soul, main, open your soul. Even though this would be a rotten first Joke purchase for any young rocker, if you're already a fan, you should pick it up for sure. Geordie's guitar is still there, but it's buried way behind the lilting tones of mid-80s synth drums and keys -oh man, that mid-80s synth sound - it'll never go out of style!!!!!???

See, I like Heartbeat City by The Cars. I don't mind corny production if the melodies stand out. Here, at least for the first 68% of the record, they do. The gorgeous swooping deathtones of "Adorations" get stuck in my head like every ten minutes (except for the stupid chorus, which I'll never understand), "Sanity" clinks along nicely, "Chessboards" is a sleazy little boogie tune with a guitar line that you can actually hear for a goddamned change, and then "Twilight Of The Mortal" and "Love Of The Masses" are as slickly sick as "Adorations," the latter with a thumpin' groove bass slimajim. And again the last three songs aren't that great. They're passable, I suppose, but not nearly as workable as the first five. I bought this album when I was a kid and it bored the thumbtack out of me, but now that I'm a big Killing Joke fan, I kinda dig it! It's still definitely their second or third worst release, but that says more about the quality of the band than the lack of quality of the album of which I here bespeak of. This record isn't a necessity, but boy it's got some haunting little tracks that sound even BETTER all keyboarded to hell and back!!!

Outside The Gate - EG/Virgin 1988.

Stupid album. Apparently it was supposed to be a Jaz solo album, but the record company forced its release as a Killing Joke album or something like that. A big lawsuit ensued, but the main point here is that this album, aside from one really good song, doesn't sound like Killing Joke at all. Or rather. It sounds kinda like they said, "Hey! Let's go back and make that angry music we used to make!," then quickly followed up the statement with, "and let's not use any guitars!!!!" What this record sounds like is a piece of shit 80's synth band trying to create bitter political music with no other components than dumb-ass "scary" electronic noises and a singer who over dramatises every single syllable that comes out of his mouth. The melodies are terrible, and the presentation is unforgivable (not to mention hilariously dated). "Obsession" is a great upbeat moody song that could have been on Brighter Than but nothing else on here even comes close to doing this fine band justice. The excruciatingly boring and endless title track may in fact be the worst song they've ever written.

So don't buy it, okay? They broke up soon afterwards (if they were ever together to begin with).

PS Just so you won't think I'm deaf, there are actually guitars on this album, but they're not really doing anything. The synths are in charge.

The Courtauld Talks - Caroline 1997.

From what I understand, this was created while Killing Joke were trying to find a record label after Outside The Gate. It's an hour-plus speech given by Mr. Jaz "Freak" Coleman to a crowd of somebodies, with Geordie playing two spooky chords on the guitar over and over and over again while a guy named Jeff beats some percussion drum deals for dramatic effect. The speech involves the power of magic in our lives, especially in regard to music. It's fairly interesting for a while, but also a bit hard to follow, when Jaz starts talking about "The Old Ones" or whatever. If nothing else. it's cool to get an hour-long glimpse into this guy's weirdo mind to see what makes him do the things he does. It all has to do with magic! And, I guess, his paranoia regarding such phenomena. If you're into magic-type stuff, please buy this CD and tell me if it's any good. All I can tell you, as a non-magic-connoisseur, is that I certainly find it interesting for a while, but not for the full hour.

Still, I can't give it less than a five, because, well... I don't really UNDERSTAND a good quarter of it, SO I'd be awarding it a low grade unfairly. I'll leave it to your personal preference. If you're a huge Killing Joke fan, you'd might as well pick It up because it, again, really IS a cool glimpse into Jaz's mind. Plus, it has those two groovy chords played over and over again for an hour. And can you beat that? Well, of course you can; let's not kid ourselves. It's a fucking blabfest, for Pete's sake. What the fuck is he talking about? "Lost Souls"? Who fucking cares? Pass me that Hustler.

Extremities, Dirt & Various Repressed Emotions - Noise International/RCA 1990.

FINALLY!!!! I guess it took a bitter lawsuit to make the Jokesters angry enough to dump the forking synths and get back to the psychotic high-pitched poundrock that made them so damn great in the early to mid '80s. I think I mentioned this earlier, but I'll repeat it here. Apparently Jaz had some sort of mental collapse due to stress, poverty , and anger at his asshole record company, and reached the point where he was so messed up, he hired a hitman to kill somebody or something. See, I read an interview with him about six years ago and he talked about the whole episode, but now I can't remember the story. Anyway, Jaz and Geordie sound angry as wolverines on this record, supported in their spite by bassist Paul Raven (who had replaced Youth) and legendary drummer Martin Atkins (from PIL and umm whatever).

Great songs. Seriously. The piercing pounding screw OF riffs of "Money Is Not Our God" and "Age Of Greed" start off the record on a tremendously exciting note, but there's lots else to love here too. "Intravenous" has the creepiest bendy note opening riff we've heard since Fire Dances, "Struggle" has a remarkably effective and unnatural speedy reverbed chorus bit that gets stuck in my head probably fifteen times a day, "Slipstream" somehow manages to sound upbeat and positive despite the obvious misery and hopelessness expressed within, and "lnside The Termite Mound" - ooh she's one mean little trudger! As usual, it's got a few really annoying songs - the moronic keyboard-happy "Extremities" and ugly as a plant "North Of The Border" can both suck the dick as far as I'm concerned - but it's just so wonderful to hear Killing Joke playing noisy bitter guitar-driven rock and roll again that these minor miscalculations are easily forgivable. Let's all thank the lord for asshole record companies!

Right at the end of the album, all the guys laugh and hoot maniacally like they've just recorded the most violent record ever made. They haven't. But it sure is a step up from Outside The Gate!

Laugh? I Nearly Bought One! -Virgin EG 1992.

A greatest hits compilation! With seventeen songs! Wow! Some non-album tracks included, too, like the dub reggae "Turn To Red," the industrial rocker "Pssyche," something called "Sun Goes Down," and a remix of "Wintergardens"! Damn fine album. But NOTHING from Fire Dances? Am I the only one that loves that record? Dang! NOTHING???? FOUR from What's This For and NOTHING from Fire Dances? Nothing nothing nothing? Nothing at all? Fuck you the world! Plus, they didn't pick the best songs off the other albums either (except, of course, "Eighties," "Requiem," and "Age Of Greed"). But no "The Wait"? No "The Fall Of Because"? No THING from Fire Dances???? Again, fuck you the world!

(I apologize the world). Buy Fire Dances and this one and you've already got a pretty solid Killing Joke collection.

Pandemonium - Big Life/Zoo 1994.

So I think they broke up after that last album. Then somehow Geordie got Youth interested in the band again (for the first time in over ten years), and them two grabbed Jaz and possibly some drummer and put together an album that, from what I understand, sold more copies than any other KJ album had before. Wow! And a damn fine record it is. Definitely much closer to the original Killing Joke sound than any other record they've recorded (weirdly enough). The production is smooth and clear, there are lots of full-bodied guitars (instead of the signature Geordie high-pitched tremble we've grown to kiss), and plenty of beautiful yet throaty vocals pitting doomsday lyricism against upbeat melodicism. It's easy to see why this might have sold so much. The music is extremely accessible without wimping out like that mid-period synth stuff. Apparently the repetitive, triumphant title track was a hit single, as was the Ministry soundalike "Millennium" (although, to put the cart before the egg, early Killing Joke was a big influence on Ministry, so I guess it was fair for the Jokesters to steal back some of their own chunkachunka industrial metal thunder to make a little cash). Decent song - great chorus! Even more Ministry-like (but again, when you get right down to it, this stuff sounds like the first Killing Joke record, which came out about six years before Al Jourgenson discovered the joys of noise) are the trudging "Exorcism" and techno-danceable "White Out," both of which mix mid-'90s club sounds with heavy metal guitar, much like - oh you know, an album I've already mentioned about sixty times already in this review. I'm not sure why they chose to update their original style, untouched since the debut, all of a sudden in 1994, but I'm not going to complain about it. It's a lovely sound! Other great songs include the "Kashmir"-esque "Labyrinth" (which works not because of its Eastern-tinged melody, but because the burying of said melody behind a crunchy guitar stutter creates a dizzying swoony feeling in the gut of the listener as he and/or she tries to figure out whether the melody is coming from a synth, a violin, or whether it was just planted in his and/or my head during the ditzy opening bit), the lovely and talented "Jana" (as heavenly as any song they've written), and the disorienting "Pleasures Of The Flesh" (which combines a meaningless ZZ Top riff with an unexpected bass-and-synth melody to great effect). Not every song is successful in every respect ("Communion" is too darned pokey, and the final track, the dancey "Mathematics Of Chaos," just isn't strong enough to bring up the rear, partly because of terribly weak production compared to the rest of the record and partly because of an uneventful melody), but most of it works like a frosted lucky charm. It's tragically Bob Costas!

Democracy -Zoo 1996.

Not a hit but I really like it! The schtick here is that Geordie is backing up a lot of the electric guitar rock arrangements with a sparkly clean acoustic-sounding guitar. It's keen! Not as hip and electronic-sounding as the last one, this album relies much more on the power of repetition and length, especially in the upbeat and unforgettable eight minutes of "Aeon," What's to say? Jaz is still hoarse, most of the melodies are great and the mix sounds terrific. No more of that incomprehensible Fire Dances mess for these fellas! Finally we have ourselves some Killing Joke that rocks, but is aurally pleasing as well! Yay!

Songwise, "Democracy" and "Medicine Wheel" are among my favorite KJ songs ever, "Another Bloody Election" is surprisingly infectious considering how generic the rockyrolly riff is, "Pilgrimage" choogles folkingly, "Intellect" has the groovin' dance vibe the kids dig (but bitter!), "Lanterns" sounds surprisingly like The Pogues (for better or for worse -and ooh! How about those Lockhorns?), and the other songs -they're okay too. "Absent Friends" is kind of useless musically speaking and "Prozac People" doesn't get good 'til the chorus, but in short, let me stress that this band has been through a heck of a lot of turmoil during their 16+ years on this planet, and the fact that they have resisted becoming a worthless nostalgia act is due credit, not to mention the fact that they appear to be keeping the quality level high with each new album, even while trying out quirky new styles and sounds. Just don't buy Outside The Gate. You're The Meatmen and it sucks!!!!

Reader Comments

John T. Maitland

I love this album. "Prozac People" is a great chorus line, and I think that the first five songs run together beautifully. Finally I agree with you that the title track is one of Killing Joke's finest moment. Certainly didn't hurt them to have Youth back.

Aaron W. Finch

Love your page, Prindle. I'm tickled to see I'm not the only Killing Joke fan in the country .I know I'm not, but it sure seems that way. Your reviews are pretty much right on the mark, even though I would have upped Pandemonium a notch or two. As for Democracy, I know this is harsh to say but I play that one as often as I play Outside the Gate - in other words, never. The absolute worst vocals ever from Jaz, a complete lack of killer riffs from Geordie, and the absence of the compelling industrial groove of the previous record. Such a disappointment because the previous record was so great and actually seemed to garner Killing Joke some new fans. As an example, a few of my musically-conservative heavy metal friends were enamoured of the album and purchased it. Surprising. From this perspective it seems that Killing Joke were one of the more influential bands of the Eighties, considering how many so-called "alternative" acts have made significant $$$ in the Nineties from aping their early style, basically the first four albums.

Glad to see you got a hold of The Courtald Talks. I wasn't sure if it was worth $13.00, but i picked it up anyway a year ago because I had never been able to find it before and it's definitely a curiosity .You should be on the lookout for Wilful Days, an odds-and-sods compilation from Caroline consisting of B-sides and remixes that is always interesting and occasionally outstanding. That is, the opening track from Outside the Gate excepted.

Well, that is what you call a contribution to the magazine. It is not often that anyone reviews the whole album collection and puts it onto the web for everyone to see. What do you think? If anyone wants to send in anything to include do so. (Like a review of Wardance - The Remixes). One request though. Please write in BIG letters or type it so I can read it. Better still, If you have use of a computer print it onto A5 sheets and that will make my life even easier. (Believe me).

This time Larry sent a few pages to include which are in here somewhere. It is a start lf you want a swap things page then send in details etc. I want this too continue if possible, because believe it or not, after getting the letters back from the 30 people who re-subscribed I realise that it is worth doing regardless of the rubbish I was ranting on about last time. In fact, the way I see it is that I will, on the next mail out, only send it to the thirty people plus any newcomers. I will keep it going until the money runs out. That should be another 3 or 4 at the rate I do them. It will be less postage for a start and less on envelopes. So yes it will carry on for a while. Not only that, Patrick is yet to give the cloak thing away and I am buggered if I can think of a competition or anything for the Democracy demo tarot cards. What do I do?? Who actually wants this stuff? You give me a good reason - I give you the one and only pack I have. Deal? Deal!

As a few of you may know Jaz and Youth were at Glastonbury at the end of October. Was anyone there? If so write and let us know what you think. I could not get there because of work. Shame because we have not caught up since last month when Jaz played me some of the music he did with Vanessa Mae. (If you have seen the trailer for the Disney film Mulan - and heard the music - it is another Jaz piece). It is strange sometimes when I think back to those immortal (?) words..."Just you f****** wait. I'll show them, I'm gonna F****** get a band together and headline at Reading. I.......". Well, a few years later he did. Now it has gone from what was taken as an unavoidable fact (I am true to my instincts) to working with some of the biggest orchestras in the world. But the good thing is that when the band get "hungry" for the Killing Joke vibe and they get together from the three areas of the world in which they live, there is a dynamism that the three share. I think it hit a high with Pandemonium and I hope the next one is as powerful. If the ideas come true from what was said in the studio when I heard the Zeppelin tape it should be amazingly different with Jimmy Cautey and co. playing with them. But, as with most plans laid down on the KJ front, it is hit and miss if they materialise. It seems to hold itself together with strands of fate and destiny at times. But that is maybe what makes them so unique - individually and as a group.


I am very interested in any news you might have on KJ. Who was the third person in I the "three" that you said were writing: Jaz Geordie, and ? I had heard that Youth was going to be involved producing the new Axl Rose album. I am hoping there is a chance that it is Raven. Also, any mention of getting Big Paul in on this project? Any mention of when they thought they might release something? Are you on the KJ list called The Gathering? There are some great projects going on right now. One is called Legacy which is planning to capture all KJ studio material that never made it to album on a 2 CD set. The other is a Alternate Versions/Tribute CD which will have rarities like The Bum's Rush, The Unperverted Pantomime, and covers of KJ songs by list members who are musicians (myself included). You might mention this to Jaz and Geordie the next time you talk to them. Let me know about the other stuff above: Thanks.

James (we'll pour our jars in reservoirs)

Hmmm, well now, from the beginning. The three people I was talking about were Jaz, Geordie and Youth. Patrick was saying he has heard Youth is no longer involved in the GnR album I have tried ringing Jaz to find out but he must be in a studio somewhere as I can't get through to check it out. Unfortunately it is now 2.02 am and I have to finish this before 9.00 am. So I cant find out without checking the 10,468 web pages. (A little stuck for time on that one). Regarding Raven and Big Paul, I know that Youth spoke to Paul around the time I met Jaz just before the last issue. They had a chat and recording did enter the conversation but I do not think it will be this time around. I have heard nothing of Raven at all. I know that writing is taking place and possibly some demo tracks being laid down. I can't see a release until next year.

I have not heard of the Gathering but I would like to hear the CD(s) as and when they appear. There are a lot of studio out-takes on bootleg albums and tapes which could be a laugh and a half to get hold of and put in as 'gap-fillers' between tracks. Hmmmmmm.....

Even more interesting, imagine getting one or two or all three of the band along to have a jam session. Could be interesting, especially if it is a weekend gathering and a lecture/talk could be arranged to coincide. (With food). I know just the place. A 400-year-old barn surrounded by hills and fields just outside Cheltenham.

So there I was, looking through the joke links and I saw your e-mail address on some CD market (I'd just ordered Fanfare for the Millennium). I was happy as I had tried to e-mail you some time back when I got the last issue of the network. In it you said you were thinking of packing it up because you were pissed off with some shitty comments from a few sad fools, my message was basically not to get down about it because it's great stuff and we need the info. I was with ODIC until that packed up but joined the network soon after, anyway, I've moved from London to Devon (ahh yes, green fields and fresh air) and I wanted you to update your database and tell me how much dosh you need for the next subscription.

From: Chris & Mary

Look forward to seeing, hearing or reading from ya. Chortle chortle

Glad you like it, what else can I say? I don't want to stop doing this magazine and this kind of letter, in fact all the letters I have had, tell me to continue and sod anyone who says different: (Here's hoping.)

I'm sorry mate, but I did not realise that you had sent an invoice out for more money ... I knew it had to be up some time. Please tell me how much in English pounds and I will get an IMO over to you quick smart, plus your mailing details in case I can't find them.

Steve, you are to be congratulated for this wonderful concept and the material you have put together so far. I am, however, a little disappointed that the last couple of issues have been, in the majority, scans of web pages on KJ. I know kJ material is really hard to find, but no doubt the majority of members have Net access and I have basically mailed them every kJ site that is up.

However, I am so dedicated in obtaining any KJ related material that I really couldn't give a flying fuck if the content was repeated ... I want anything on KJ!!!

Again, many thanks.


Sorry about the amount of web pages that have been in the magazine, but not all that many people have access to the net. I think that as a lot of the info is from either well-dedicated fans or from the music press it was relevant to let people see it. Like this month, I have the reviews pages of KJ albums from a site. I like to read other opinions. Hence (the hint)...anyone want to contribute??

Hiya mate! Sorry i've not been in contact - many thanks for the last two issues - fuck the people who criticize them. Now I know how much grief this mag is causing you I'd like to get involved and help in any way, shape or form. Also, as there is nothing going on in the 'live' scene, how about a hardcore KJ gathering where we can all drink, smoke, dance to Killing Joke to celebrate almost 20 years??

Jon Chapman

Knowing what I am like, the chances of me getting my act together to organise a gathering would be like finding a functional chocolate fireguard. If anyone has got the incentive then carry on. I have addresses if you want them.

I have enjoyed the newsletters and, even if sometimes there isn't any purely Joke news, I would like to remain in the network otherwise it would be very difficult to find out anything about the activities of the band.

Phillip Robson

Cheers, go have a "brew" on me. Here I am at "One-eye'd Jacks" having a cold beer thinking of you all ... there I go => I LOVE YOU!!! It must be the sun & cold beer => I always get warm and fuzzy in my comer of the world.

Lee-Anne, Toronto.

I write you this letter to help me clear up some things re. the billing of the KJ Network Since the first issue arrived late September '96 I received 5 issues (including one special item) from you. Could you tell me how many more are forthcoming for the money I paid in 1996? If l want to extend the subscription how much that will cost and whom should be paid? Please let me know as soon as possible.

Peter Ossewaarde, Holland.

Your subscription will have run out by now. If you send me £18 either on a eurocheque or in cash i will carryon posting it to you.

I really like the Network magazine and I think you are doing an EXCELLENT job. Please don't get discouraged if someone writes in to complain. If they cannot get what they want from the Network, then that means they cannot get it anywhere else. In my experience, complaining comes from the inability to do things better on one's own. Just look at my case: it's thanks to you that I have managed to contact a person like Debbie Cooper, for instance. She very kindly sent me various KJ video recordings, some of which are of pretty good quality too. You know, over the last 15 years I've been listening to and enjoying KJ, it's only now that I have started to understand more about Jaz and his ways of thinking. Without the Network I wouldn't even have that! I'd still be living in darkness...

So don't worry Steve and please keep up the good work. If there is anything I can do to help just feel free to contact me. Cheers

Dimitri Loringett, Switzerland.

I don't know if anyone else has seen this news item, but it puts paid to all the theory's, folklore and myths. It also answers a question I have been asked several times by a few of you.

Melody Maker: August 15, 1992


NIRVANA are being sued by Killing Joke. According to bassist Paul Raven, papers have filed in Los Angeles claiming that the guitar riff of Nirvana's "Come As You Are" is a direct copy of Killing Joke's 1985 [sic] hit, "Eighties". A spokesperson for Killing Joke told The Maker: "We have the reports of two independent musicologists who say that there is a case to be answered and we are going ahead with the action."

Joke bassist Raven added: "I recently signed a new deal. The label called me and told me they were into pursuing it, so they got in touch with the head of Virgin Publishing in America. It's been going on for a month now. Basically, we have to prove that they've heard of us - the legal guys call it coercion. They have heard of us cos we've got Christmas cards from them when they were a baby band. They've also namechecked us as an influence in loads of their early interviews.

Raven and singer Jaz Coleman claim that the guitar riff that "Come As You Are" is built around is a slowed-down version of the one that forms the backbone of "Eighties". The pair claims that Nirvana even used the same guitar effects for the song.

Pacifica - Ambient Sketches
Performed by the New Zealand String Quartet
CD Ode Records/BMG Arista/Ariola [74321437092]

God Bless the Island
Moruroa Part one
Haere Ra
The Flight of Pikowai
Dinner at the Henry's
The Rape and Healing of Nauru
Moruroa Part two (Blasphemy)
Summertime in Aotearoa

This is the CD which has been released in New Zealand and Australia. I do not know when it arrives on these shores but if anyone wants to order it from their local record shop here is the info.

Date: 20 September 1998

Since I Don't Have Youth

The prospect of hot-shot producer Youth working on Guns n' Roses' long-awaited next album didn't age well, or for very long, according to sources close to the situation. In the latest saga surrounding the group, which now features only one original member (Axl Rose), Sean Beavan (Marilyn Manson, Nine Inch Nails) has replaced Youth as the latest knob-turner to tentatively sign on to produce the next album.

According to insiders, Beavan has been asked by Rose to get involved in the project, and the producer has accepted in principle, although details and contracts have yet to be worked out. Neither G n' R's or Beavan's management, or the group's Geffen label, would comment, but sources close to the G n' R camp confirmed that Youth, their last producing candidate, is no longer welcome in the jungle. No details were available regarding his dismissal, but sources say things just "didn't work out" with the producer, who's best known as the bassist for Killing Joke and the co-producer of the Verve's Urban Hymns. Whether he actually recorded any material with the band -which now includes former NIN guitarist Robin Finck, former Replacements bassist Tommy Stinson, erstwhile Vandals drummer Josh Freese and keyboardist Dizzy Reed - is unknown, but considered unlikely. Beavan is the fourth name to surface as a potential Gunners' producer, a list that's also included former G n' R producer Mike Clink and techno whiz Moby.

The remodelled Guns n' Roses have been writing and demoing new material for at least two years. Recording and programming has been administered by Critter, an engineer/remixer, who's recently remixed material for Manson, God Lives Underwater and Sheryl Crow. Critter is expected to remain on board once the sessions get underway, assuming they actually do, but, like Beavan, his exact role has yet to be determined.

Sources at Geffen say the company is hoping for a mid-1999 release of the new album, which would be nearly six years after the band released the all-covers album The Spaghetti Incident? and nearly eight since it put out Use Your Illusion I & II.

Sorelle Saidman

Source: Rolling Stone