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JLR: I was pretty excited because Anaal Nathrakh finished playing, and Strapping Young Lad had been playing at the Mean Fiddler, and Gene Hoglan came to see the end of the Anaal Nathrakh gig.

Sam: Ah! I met him the other night because he played with Death at the Underworld, because they’ve been doing that Death tour. I was lucky enough to get a backstage pass and watched right beside his playing, and it was just fucking amazing, he’s so great. Lovely gent as well when we had a little chat. Death are a massive influence on my heavy metal upbringing, they shaped it really. He’s a genius, a total genius. It was the geezer from Cynic playing main frontman… Max Phelps. He even looks like Chuck! I’ve seen them twice now playing in London. It’s like a total homage to Chuck, it’s got no aspirations of “we’re doing Death again,” it’s totally about representing the genius of Chuck. I think all the profits go to whatever charity, so pure respect to those guys.

Killing Joke – Pylon Review

By Grymm On October 26, 2015 · 131 Comments · In Reviews, Spinefarm, Heavy Metal, English Metal, Post-Rock, Industrial Metal, 2015, Hard Rock

Many older bands, once established, will eventually coast by just on their name alone. Sure, they’ll cut a new album every few years, but it never lives up to their influential works of yesteryear. It’s often an excuse to go out on the road, play nothing but the classics, and bring home the money while also hocking wares that have nothing to do with the band’s original intent. England’s Killing Joke, however, are a unique beast. Almost 40 years into their storied career, they’ve influenced groups as disparate as LCD Soundsystem, My Bloody Valentine, Nine Inch Nails, and Metallica just by utilizing any and all genres suitable to deliver their brand of poetic vitriol. Now, completing the triptych that started with 2010’s Absolute Dissent and continued with 2012’s MMXII, we have Pylon to analyze and mull over. I will say right now that you would be forgiven if you thought the band would finally sound like they are running out of steam and would finally be outed as bitter, cranky old men baring unnecessary resentment. You would also be proven absolutely dead-wrong within a matter of seconds.

You probably scrolled to the bottom of the page, saw the score, and are wondering if it’s really that good. If you enjoyed the anger brought forth in Absolute Dissent but felt a little let down by MMXII, then Pylon will wipe the floor with you. “Autonomous Zone” continues the long tradition of relentlessly angry openers, recalling 1990’s Extremities, Dirt & Various Repressed Emotions in terms of sheer urgency and a bit of danceability, thanks to the solid, driving drumming of Paul Ferguson, Geordie Walker’s recognizable distorted open-chord mayhem, and Jaz Coleman’s prophesying. Speaking of Coleman, his voice continues to hold up quite well, and he sounds just as focused and commanding as he did in his earlier days, mixing both honey and venom in potent amounts. Quite the ear-catching opener.

Speaking of venom, there is absolutely no shortage of it to be found on Pylon. This album is thankfully free of anything that could be considered a ballad. Instead the purpose is to engage, inform, and enrage. While there isn’t a bad song on here, some are going to rise higher than others, but all are potent ragers. “Euphoria” comes closest to the band’s gothic period, sounding both dance-worthy and fist-clenching. “Delete” reaches back to the second (and grossly underrated) self-titled album from 2003, with Pig Youth’s bass sounding particularly grimy and thick. “New Jerusalem” tricks you with a happy drum beat while Coleman calls out a pet peeve of mine: corporate media poisoning our airwaves with useless bullshit while serious and heinous crimes go unabated and ignored (“Charmed, no attention span/No empathy for the common man”). Hi, Facebook!

Produced by the band and Tom Dalgety, Pylon may be lacking in dynamics, but it still sounds great. Youth’s bass is chunky and driving, Walker’s signature tone remains powerfully intact, and the drums sound especially beastly (seriously, that breakdown just after the first chorus in “New Jerusalem” is thundering and rage-inducing). But what makes this album such an incredible success is just how fluid Killing Joke are when it comes to jumping styles to convey particular messages instead of trapping themselves in one mode. It’s this exact reason why Killing Joke are still so vibrant, so seething, and so utterly convincing in their delivery. You can’t fake sincerity.

Here I was, just hoping that Killing Joke would bring us all an album of decent songs, as they’ve been on an absolute tear since the original line-up regrouped in 2008. Instead, they released an emphatic statement of intent, proclaiming that complacency, ignorance, and lack of empathy will not be tolerated on their watch. Pylon is one for the ages, and I hope and pray that when I’m in my fifties, I’m just as focused, driven, and passionately scathing in my views of the world. Timely, yet timeless.

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Rating: 5.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Spinefarm Records
Websites: killingjoke.com | facebook.com/killingjokeofficial
Released Worldwide: October 23, 2015

Anyway, I gave him a song that I wrote. He was great with lyrics, so I said to him, "Can you work on this?" I also gave him a book about the Second World War, about some general or something. He says, "Come back in two hours." So I come back and he not only wrote me a bunch of lyrics, he had three sets of lyrics and he said to me, "That book was crap also." I said, "What book?" "The one you gave me." He had read a book in an hour. I said, "Are you kidding me?" He said, "Do you like these lyrics?" And I think it was for "Mama, I'm Coming Home." And I said, "They're all right." And he goes, "What do you think about these?" He'd written me three sets of lyrics.
He wrote my song "See You on the Other Side" with me. I came up with the idea and he wrote the lyrics. He wrote, "Mama, I'm Coming Home," "Hellraiser," "Desire," "I Don't Want to Change the World." I'd give him a song and think, "Where the fuck do you go from here?" And he'd write you like 15 other verses in such a short amount of time. I mean, if I was writing lyrics, most of the time, I go, "Well, she went to the door," and that's as far as I'd get. He just writes them as if he's writing a message. And it's like, "He wrote this in how long?" And they're not good lyrics – they're fucking amazing lyrics.
To look at Lemmy, you'd never think he was as educated as he was. People look at the music we do and the way we look, and they go, "Oh, this bunch is a bunch of yobbos. They don't know what they're doing. They're bad people." But it's not true. Lemmy looks like an old biker, but he was so well read. He was very up on a lot of things. He was a very clever guy. On his bus on the first tour, he had a plaid suitcase and all he had in there was a pair of knickers and a pair of socks, and the rest was books. When he stayed with us, he'd stay in the library for three days, reading fucking books. And if I got up to go to the bathroom in the middle of the night, he'd still be reading. And I'd go, "Why don't you sleep?"

Read more: http://www.rollingstone.com/music/news/ozzy-osbourne-remembers-lemmy-he-was-my-hero-20151229#ixzz3wB0FLkTy
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