Killing Joke - Perth, 9th June 2013
Words: Garreth Manuel

Perth put on a grim looking Sunday night at the Rosemount for Killing Joke. And appropriately so, given the calibre of gents that were about to front the stage. The line up, consisting of original members Paul Ferguson, Martin ‘Youth’ Glover, Kevin ‘Geordie’ Walker and led by front man Jaz Coleman, took punters by the hand and dragged them through the depths of hell as if it was of the utmost importance.
Coleman’s hostility and opinionated views toward almost all subject matters hadn’t relaxed over the decades but seemed to aggress. Melodically and vocally, the band has evolved almost without anyone noticing.
Requiem kicked off the night with Jaz’s searing callings darkening even more the already blackened night outside. Followed by Turn to Red which, if isn’t a perfect segue to grab another drink before Wardance, then one doesn’t exist.
As vast and as varied as their back catalogue is, a lot of the set was 80’s dominated, which didn’t seem to faze the dedicated crowd, who revelled in the nostalgia of it all. Goth rock anthem Love like Blood delivered, as it does. Jaz called out a dedication for The Beautiful Dead, reminding everyone of former bass man Paul Raven as the synths waited for Geordie Walkers thrashing guitar and Youth’s thunderous bass to explode. And they did just that and got even the most black cloaked melancholy punters sheepishly grinning.
From The Beautiful Dead to the end of the set a good selection post 80’s tracks were thrown in for good measure, levelling the playing field. The Ministry-esque Rapture from the 2012 album MMXII forced their brand of industrial rock down the crowd’s throats. Once again, Geordie’s scalpel-sharp riffings and Youths’ dark and dense bass worked in perfect harmony with drummer Paul’s extraordinary timing. The track was a show defining moment.
Coleman’s hostility and opinionated views toward almost all subject matters hadn’t relaxed over the decades but seemed to aggress. Melodically and vocally, the band has evolved almost without anyone noticing.
Requiem kicked off the night with Jaz’s searing callings darkening even more the already blackened night outside. Followed by Turn to Red which, if isn’t a perfect segue to grab another drink before Wardance, then one doesn’t exist.
As vast and as varied as their back catalogue is, a lot of the set was 80’s dominated, which didn’t seem to faze the dedicated crowd, who revelled in the nostalgia of it all. Goth rock anthem Love like Blood delivered, as it does. Jaz called out a dedication for The Beautiful Dead, reminding everyone of former bass man Paul Raven as the synths waited for Geordie Walkers thrashing guitar and Youth’s thunderous bass to explode. And they did just that and got even the most black cloaked melancholy punters sheepishly grinning.
From The Beautiful Dead to the end of the set a good selection post 80’s tracks were thrown in for good measure, levelling the playing field. The Ministry-esque Rapture from the 2012 album MMXII forced their brand of industrial rock down the crowd’s throats. Once again, Geordie’s scalpel-sharp riffings and Youths’ dark and dense bass worked in perfect harmony with drummer Paul’s extraordinary timing. The track was a show defining moment.

Chop Chop and Eighties took everyone on a journey back in time to the band’s understated punk beginnings, with Jaz almost singing, sounding a lot less sub-human than the usual pained shrieking that he has evolved and that crowds have become
accustomed to.
Whiteout from 1994’s Pandemonium album was next. At this point in the show, Jaz was looking and sounding more and more like a victim of a possession and it was frightening, to say the least. With the end of the set looming, the crowd was warned of their impending demise for the track Asteroid. With Coleman’s devastating intensity and demonic growls he preached, “And the 3rd angel sounded, and a star fell from heaven, burning as it were a lamp, and it fell upon the 3rd part of the waters... ASTEROID!” And they believed him as if it were true. Paul’s industrial and hard as fuck drumming once again teamed up with Coleman’s terror evoking vocals to rip everyone to shreds. The track was easily another highlight of the night.
Corporate Elect from MMXII and Pandemonium from the album of the same name got the crowd to the finish line with a more layered, controlled, textured sound. But it was still ferocious and heavy as hell. It was enough to make even the most discerning metal head weak at the knees.
After a very brief break the crowd were offered one last taste. The last few tracks included The Death And Resurrection Show and Pssyche, both of which chunked along and ended an extremely satisfying gig.
Killing Joke, with a career spanning thirty plus years and albums exploring a number of genres, easily prove why they are such an invaluable source of inspiration and influence to many of their peers and fans alike. Let’s hope they continue to be so for years to come.
accustomed to.
Whiteout from 1994’s Pandemonium album was next. At this point in the show, Jaz was looking and sounding more and more like a victim of a possession and it was frightening, to say the least. With the end of the set looming, the crowd was warned of their impending demise for the track Asteroid. With Coleman’s devastating intensity and demonic growls he preached, “And the 3rd angel sounded, and a star fell from heaven, burning as it were a lamp, and it fell upon the 3rd part of the waters... ASTEROID!” And they believed him as if it were true. Paul’s industrial and hard as fuck drumming once again teamed up with Coleman’s terror evoking vocals to rip everyone to shreds. The track was easily another highlight of the night.
Corporate Elect from MMXII and Pandemonium from the album of the same name got the crowd to the finish line with a more layered, controlled, textured sound. But it was still ferocious and heavy as hell. It was enough to make even the most discerning metal head weak at the knees.
After a very brief break the crowd were offered one last taste. The last few tracks included The Death And Resurrection Show and Pssyche, both of which chunked along and ended an extremely satisfying gig.
Killing Joke, with a career spanning thirty plus years and albums exploring a number of genres, easily prove why they are such an invaluable source of inspiration and influence to many of their peers and fans alike. Let’s hope they continue to be so for years to come.