![]() ![]() After the release of their third EP, Birds of a Feather and the eponymous single, which charted in the UK, Killing Joke released their fourth studio album, Fire Dances, in July 1983. Two singles, " Empire Song" and " Chop-Chop", were released from the album, but only "Empire Song" charted in the UK. Their third album, Revelations, was released in 1982 and peaked at number 12 in the UK, and number 33 in New Zealand. " Follow the Leaders", the only single to be released from the album, charted in the UK and in the U.S. Their second studio album, What's THIS For.!, was released in 1981 and reached number 42 in the UK. The album, which peaked at number 39 on the UK Albums Chart, produced three singles: " Wardance", " Change" and " Requiem". Their first studio album, Killing Joke, was released in 1980. It was shortly followed by their second EP, Almost Red, released in November, and by their first single, " Nervous System", released in December 1979. In October 1979, shortly after they began the Malicious Damage record label, Killing Joke released their debut EP, Turn to Red. The band formed in late 1978–early 1979 in Notting Hill, London, England. A pity the group then spent some years doing pallid clones of the song.The discography of Killing Joke, a British rock band, consists of 15 studio albums, seven live albums, 14 compilation albums, five extended plays (EPs), 31 singles and four video albums. "Eighties" turned out to be the retrospectively most well-known song, due to a surprising and not always remembered example of Killing Joke's influence - Nirvana, of all groups, thoroughly cloned the watery guitar line at the heart of the track for "Come as You Are." "Love Like Blood" was the breakthrough single in the U.K., although - and for good reason - it managed the bizarre trick of slotting alongside Duran Duran for mainstream radio airplay while still sounding like nobody other than Killing Joke. He's got a great singing voice as it stands, and it's a treat to hear him let it flow forth without forcing it. Jaz Coleman's experimentation with keyboards - chopped-up vocal samples, calmer and sweet lead melodies - is paralleled by his own singing, now mostly free of the treatments and echoes familiar from earlier days. ![]() Geordie Walker pulls off some jaw-dropping solos amid his fierce riffs - check out his turns on the title track - while Paul Ferguson mixes and matches electronic beats with his own very well (perhaps a little less intensely than before, but not by much). At this point, however, the tension between the two sides had a perfect balance, and as a result Night Time is arguably the quartet's freshest album since its debut, with a warm, anthemic quality now supplementing the blasting, driving approach that made the band's name, as songs like "Kings and Queens" demonstrate. This turned out to be the band's Achilles heel in the end, with later albums in the '80s evidence that the group had turned into an unbelievably boring, generic modern rock band. ![]() Marking the full return from the band's out-of-nowhere hiatus in 1982, Night Time, following after a couple of test-the-waters EPs, finds the reconstituted Killing Joke, with Paul Raven in on bass but otherwise unchanged, caught between their earlier aggression and a calmer, more immediately accessible approach. ![]()
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