RE: [kj] NEW : "Hosannas" review on KILLING-JOKE.NET !

[Stevie "workslave" Robinson]

Terrible google translation: 

Initially, in order to remove certain illusions with those which await one following KILLING JOKE 2003, " Hosannas... " is surprising. Indeed contrary to " 2003 " which fits in the albums accessible from Killing Joke (like " Night Time " and " Pandemonium ")," Hosannas ... "would be classified in the category of the albums reserved for the fans of the group (" Democracy ", " Extremities ...", " Revelations ").
Why? Firstly the sound. That is rèche as if the group had not wished to polish it to the extreme. The vocal ones under-are mixed, the battery seems air, the low one hums (I believe never as well to have realized of the exceptional play of Raven), and the guitar explodes in all the directions. One could bring it closer to the so much criticized mixings of the album " Democracy ".
Geordie drops the riffs abrupt from 2003 to the profit of a more flexible and more complex play where its guitar breaks with the grace than one knows to him. This so particular sound and if indentifiable that it gives the impression to find an old friend.
Jaz does not change to him, it continues on its line of 2003, though one can feel a growing mysticism giving to his vocal parts a greater theatrality. It will be noticed that Jaz is erased much more than before with the profit of the music.
Raven is equal to him even, its the low lines graduated ones make fly with all the blows and the play of the new beater Ben Calvert supplements it with wonder.
Let us speak about Ben justemment. What a power! What a rate/rhythm! In spite of its youth (23 years!), it hammers its futs with a tectonic striking worthy of the group of which it forms part from now on. Its play is also marked influences tribales and one can only greet this small lucky find of Geordie. When with the parts synthés, nothing special with saying (if not that I forgot the name of the young ptit which is occupied some), they appear rather discrete throughout the album, except on " Invocation ".
Let us speak about the pieces hold!
All starts with " This Tribal Antidote ", piece mid-tempo with the marked accents "Absent Friends". One smells already or the album will lead us... to a return programmed towards more melody sonorities. This piece is a wonder and is in my eyes being a traditional future of the group (though I had thought the same thing of " Savage Freedom " at the time of "Democracy "). Beautiful introduction...
Then one connects with " Hosannas ..." which violently makes think of a continuation of the piece " Implant " ("2003"). The rhythmic one packs a little more, punctuated of station-wagons leaving free course to the cavernous coldness of the voice of Jaz Coleman always also had. The melody variations are surprising of control, and one smells oneself very quickly carried by the long tablecloths of synthé. A traditional future also, undoubtedly. Then arrives " Invocation ", substitute of " Communion ", a little longuet on album, but which is likely to make very badly in introduction in concert (I imagine already Jaz to make his jumps of 5 cm by taking an air hallucinated the arms in cross lol).
" Implosion " is... monstrous of power. Y' does not have to twist, when Killing Joke becomes epic one feels very small. It is massive, fast (a little long is) and the fan with the back which is roughcast when Jaz howls its " Implosion !". The play of Geordie resembles a little that of " Seeing Red ", which gives very effective attacks (in spite of the sound less marked metal).
" Majestic " is one of the heads of work of this album. In made lines pieces of the album " Extremities ...", with a suspicion of " Pandemonium " and " Revelation ", it is essential like traditional unconditional as well by its musical richness as sound. The voice of Jaz made finally clear there on the verses, which is more than pleasant. The guitars of Geordie pass from the powerful riff to melodies entêtantes, and the low one of Raven hums in contact with a rhythmic hybrid between the battery of Ben and the machines of new synthé (from which the name always escapes to me but that will return to me).
" Walking with Gods " is the piece dancefloor of the album. I joke of course, though the "claps" of synthé are a little destabilizing at the beginning. Environment sinks and dancing which points out pieces like " Silent Rage " (resulting from the demonstrations 2001), or the best hours of the period " Pandemonium/Democracy " as Youth released itself on the techno: -).
" Lightbringer " is powerful, powerful but trèèèèèèèès long (9.38).
The battery is copied on " Pssyche " (I would not be astonished by a sequence between the two in concert), the voice starts in the " Asteroid ". Not more original than that, it has the merite to move well and to be teeeeerrrrrriblement entétant like was " Pssyche ". I allow myself the comparison because even the guitars follow a similar diagram.
" Judas Goat " surprises because it is with counterpoint of " Lighbringer ". Rhythmic jerked faggot of hitch, of the sounds zarbis encircling the listener in all the directions (there one sees the job of synthé!), the voice of Jaz very planing, industrial guitars of Geordie changing of face according to the parts, an enthralling structure of piece... Wow... This piece is all bonnement a wonder! With enchainer after " Beautiful Dead "...
One finishes with " Gratitude " with the slow tempo, logical continuation with the precedent. Mysterious, planing, one lets oneself by this long have melopée, ideal conclusion of an album oh how much surpenant by his musical richness and his succeeded aspect.
I must acknowledge that in spite of the shock with the first listening, due to this mix so particular, the album turns in loop at home since yesterday without I sometimes happening at me to weary some. I would say that this mix are perfect makes some, I do not see how it could have been of it differently. I admit that the whole misses a little stereophony and that the levels are odd, therefore better is worth to await the exit in 2 months to have a precise idea. Lengths of " Hosannas ..." undoubtedly make its force, prohibiting all hits potential, obliging the listener to traverse the screen of the pieces, to travel in the démoniaque spirit of this Jaz Coleman, décidemment impressive in its creative longevity.

Ashkan


(my fav:Rhythmic jerked faggot of hitch)