After the band's lengthiest hiatus since it was founded,
Killing Joke
returned in 1994 with a new/old lineup and an interesting enough new album.
Raven
, the group's bassist since the
Night Time
days, was replaced by original bassist
Youth
, who produced the album and released it on his label. Compared to the newfound intensity of
Extremities
,
Pandemonium
partially steps away from the neo-
industrial
/
thrash
of that effort for a more varied, often quite surprising experience. With no one drummer replacing
Atkins
, the threesome works with a number of performers,
Coleman
in particular bringing in some of the Egyptian musicians whom he has worked with on a variety of projects, including his collaborative work with
Anne Dudley
. Noted percussionist
Hossam Ramzy
takes a key role, replacing the frenetic fire of
Ferguson
's work with a subtler, more textured approach, while
Aboud Abdel
's violin further gives
a haunting edge, aiming to some extent at recreating the epic, mysterious stomp of
Led Zeppelin
's
"Kashmir"
for a newer day. Elsewhere, the straight-ahead rampage of
"Exorcism"
and
"Whiteout"
show that
hasn't forgotten the power of sheer intensity, and if
's sheer power and inventiveness is missed the most here, the results are still a thrilling, fierce listen. The core
Geordie
partnership remains strong, the latter at points holding back on his more scalpel-sharp approach for a thicker, overdubbed flow, sometimes -- as on
"Jana"
-- finding a friendly, open style that revisits the radio-friendly
AOR
days of the band without actually sucking. In turn,
slides between his declamatory persona and the closer, more controlled style of later efforts; the combination -- as on the striking, massive wallop of
"Communion"
-- can be incredible, the contrast between the verses and searing choruses proving captivating. ~ Ned Raggett