#Martin Glover

[ourladyofomega]

Martin 'Youth' Glover" (Killing Joke).

📷: Frank Jenkinson

[musickickztoo]

Youth *December 27, 1960

[thisnoise]

Taste the salt of my tears, take the wealth of my years. Singing in the millennium with you.

[omegaremix]

Killing Joke / Pig @ Irving Plaza, N.Y.C; September 12, 2018.

When was the last time I visited Irving Plaza? Ten years ago, when Ministry supposedly had their “farewell” tour. That show opened my eyes up to Meshuggah who turned the entire place insane and a forgettable opening act not worth mentioning. Now, we’re the gatherers as Killing Joke puts us. Next year celebrates 40 years as a band and are currently performing the Laugh At Your Peril Tour through the Americas and Europe. They stand as one of the few acts in existence that have played together for this long and never slowed down or lost power. The miserable humid weather of light drizzle and grey skies could never dampen the audience down for what unfolded.

I assumed it would be only Killing Joke’s time to shine. I had no idea there was an opening act. Here’s a lead singer who comes on stage dressed in an odd get-up, all black head-to-toe. He’s also wearing a silver leather jacket with super-long tassels hanging down from his arms, a flat pilot’s hat, sunglasses, bondage over his privates, and thick black boots. I had zero idea who the opening act was until he shouted “we are Pig!” Really? It’s Raymond Watts himself. What a surprise. Watts / Pig has been a classic and go-to industrial staple during the Wax Trax era. It’s great to hear he’s still performing without a hitch. With his time in KMFDM, “Juke Joint Jezebel” was not an option but a necessity. He performed another big hit in ”Secret Skin” and also preached everything about (sin, sex, and) salvation. He’s wearing the priest’s collar, after all. One good thing about Watts / Pig was his presence: direct, communicative and in many times pointing to his fans (salvation, people); moving, gyrating, and swinging to the tune of his industrial sound and his affinity for stage, orchestra, and cabaret. This is one industrial artist I’m familiar with and still should’ve been more into by now, even despite having one of his titles in Sinsation for some time.

Killing Joke took the stage with a wonderful welcome from the New York City crowd. The entirely original gang of bassist Martin “Youth” Glover, guitarist Geordie Walker, drummer Paul Ferguson, and lead singer Jaz Coleman were very happy to see us as well. They reformed as the original unit before the Absolute Dissent-era so the 40th anniversary is a milestone meant to be. All throughout the night they culled songs, switching from almost every album demonstrating their versatility in punk, dub, industrial, and metal while always staying close to their politically and socially charged message.

They kicked off the 95 minute set with one of their key hits “Love Like Blood” and jumped 25 years into “European Super State”. They went back to the classics with “Eighties”, another familiar one for us gatherers, then forward again with newer songs with “New Cold War” from Pylon. But you can’t make it an anniversary show without going back to where it all started: their 1980 full-length debut which they played five songs from. “Requiem” and a harder live version of “Wardance” were absolutely included. It wasn’t until “Butcher” where the audience furiously broke out in mosh pits. Three cuts from their self-titled 2003 record kept the energy going all throughout, first with the rugged “Asteroid” and also included “Loose Cannon” and “The Death And Resurrection Show”. An hour and 14 songs later, Killing Joke re-treated backstage but came out for a five-song encore that sealed the extended deal.

For an outfit that started and regrouped again in 40 years, they look modest and much healthier than most bands that went that long. Starting with the 1980 self-titled debut to Pylon, Killing Joke’s sound has gotten stronger and more powerful by each record. What truly made their arrival a sweet one was not only in their songs but in themselves as a unit. Witness them in person and you see how gracious they are to perform for their fans. No attitudes, no egos, no pretentiousness. All smiles. You know they were all happy to be there and were extremely appreciative. They show their thanks through great shows, retrospective deluxe sets, and being personable because they know their supporters helped them carry on for all this time.

And then there’s Jaz, whose scraggly looks show his frightened and mesmerized on-stage presence for all to see. That’s Mr. Coleman for you. He’s also jovial, too. His stories of how he once was an unhealthy alcoholic mess that became “Loose Cannon” to Youth’s time dee-jaying industrial clubs in a grittier more dangerous New York City garnered guaranteed laughs from all of us. Most importantly, he also championed personal freedom for all. It’s that integral message from their socio-political themes that’s most essential in these states’ uncertain and tumultuous times. Those messages are what the fans identify with and it’s why they love them so much.

It was one of the busiest shows I seen. Almost not a single square foot of standing room spared and neither were the VIP sections or all sides of the upper balcony. The energy was loud and constant in-between songs and (again) Killing Joke was in great spirits. The grey misty weather would make all of us miserable. Killing Joke’s presence was so great that it lifted all of us out of it.

[alternative-munster-goes-fourth]

[mitjalovse]

Martin Glover has a set of his own parameters and they inform his choices of collaboration as one can assume from this weird sentence I typed in here. I mean, him producing Pink Floyd? Sure, he probably always dreamed of this, though The Endless River is not really their album per se. No, the disc serves as the postscript to their career, yet the LP concludes with the tune on the link, where everything fits. We follow the foggy landscapes to reach the oasis in the form of the finale, which might be too close to whatever they did during the late 80's, yet what a song! Sure, this is not one of their best, yet the things just soars in the vein of their classics. Of course, the piece has a bitter-sweet quality now, since this was a celebration of their detente that evaporated later on.

[omegaplus]

# 4,362

Killing Joke: “Full Spectrum Dominance” (2023)

I will say that Killing Joke is one of the few enduring artists / bands out there who only get stronger and tougher with each album (see Ministry, Curse Mackey, and Unsane). There’s absolutely no slowing down on their part. Your Messiah Jaz Coleman and Company came to remind you that they never lost it. Fans got an exciting surprise when Killing Joke’s latest orphan single “Full Spectrum Dominance” dropped ahead of them performing their debut album and What’s This For...! at London’s Royal Albert Hall earlier this month. They never deserted their social and world politics behind and this is no different, helping them stay relevant all this time. They never deserted their talented chops, either, as the UK collective rides smoothly to victory once again. Jaz’ vocals stay dead-focused straight-ahead and fly far with Geordie’s strings howling along for the ride and Youth’s bass always putting pressure on their target. Big Paul Ferguson never misfires and lends “Full Spectrum Dominance” its speed, aggression, and tension. Consider this a continuation of last year’s Lords Of Chaos e.p. and hopefully all roads lead to a new album.

[savage-kult-of-gorthaur]

RESPECT TO THE METAL PUNK-PROTO-THRASH SCENE FROM THE DUB/POST-PUNK UNDERGROUND.

PIC INFO: Spotlight on KILLING JOKE bassist Martin "Youth" Glover clearly and tastefully rocking a MOTÖRHEAD T-shirt underneath his leather jacket, c. early '80s? 📸 credit: Unknown. Uploaded by @toadgargler4q2 in August 2024.

Source: www.picuki.com/media/3442527195436884957.

[teratomat]

It's ToolTime!!!

[ourladyofomega]

Killing Joke has finally returned.

[website-com]

[thisnoise]

Blinded by greed, thy kingdom come.

[josebarrmageddon]

9(2009) 15th Anniversary

My hype for this movie was through the roof. On top of it already looking unique compared to other movies coming out at the time, I saw it was produced by Tim Burton, who I was obsessed with growing up. I was 12 and my best friend, Kal, and I went to see it after school on opening day. It was also the first time I went to the movies without an adult, which my Parents were hesitant about before agreeing to let me see it. Kal and I walked out really liking it, but I became obsessed with it. I loved the characters, voice acting, backstory, visual designs, and world building.

Over the years, I’ve heard some complaints, like the plot being too simple and having little to no character depth, but I think because I saw it at the right time, I was able to fill in those blanks and just appreciated the things it did right. While now, its kind of quaint, I do remember feeling it was more mature and creepy and I liked it. I categorized it under gateway horror, as around the same time, I started delving more into classic horror and monster movies. It’s not necessarily aimed at mature adults, it’s aimed at the kids who are ready to see something a little bit more scary. That’s why the plot is easy to follow and the visuals and tone are intense. Director Shane Acker has talked about making more dark animated movies like this, but nothing’s happened. I know he’s still around working on visual effects for movies and making shorts, but I’d really love to see another feature from him. Hard to believe it’s been 15 years, but It’s still nice to see the 9 fandom occasionally pop up and remind me of simpler times.

- Jose Barr (9/9/24)

[vancruejovi]

Lethal Weapon my beloved 💕

[mitjalovse]

To be honest, the superstars from the previous periods somehow ended up being quite prominent in the 90's and their work from then spoke of their fame at that particular time point. For instance, Paul McCartney had a weird period in the 90's. He basked in the legacy of his band, yet he also wished to remind everyone he still cared. McCartney is a fascinating character, when we discuss his music and the 90's presented us with the most intriguing proposition – him doing an electronic music project. The Fireman, his duo with Martin Glover, feels like at times a pop version of many Warp signings. There's something fabulous about him tackling IDM, since he cannot escape his past, but the latter does enrich the soundscapes more than anyone would be willing to admit.

[spockvarietyhour]

Lethal Weapon 4 (1998) directed by Richard Donner