Another @#$&! 2015 Top 10 rock albums list: Part 1

Depressing end to a year full of strong records
By Peter Lindblad

Killing Joke and Jaz Coleman released
one of this year's best records with 'Pylon.'

There was no happy ending to 2015 for hard rock and heavy metal. The December deaths of Lemmy Kilmister and Scott Weiland cast an overwhelming pall over a year dotted with peaks and valleys, the June passing of Yes bassist extraordinaire Chris Squire being one of the lowest of low points.

Once the grief passes, and eventually it will, the sun will break through the clouds, shining a light on the positive developments of 2015, such as the grand return of Jeff Lynne's Electric Light Orchestra and the release of critically acclaimed solo albums from Keith Richards, David Gilmour and Roger Waters. And while it appears the end is near for Black Sabbath and the ride is over (maybe?) for Motley Crue, battling brothers Ray and Dave Davies surprised everyone and briefly reunited onstage on Dec. 18, much to the delight of Kinks fans everywhere, rumors of a Guns 'N Roses reunion – now officially confirmed as a go, with a performance scheduled at the famed Coachella festival – gained unstoppable momentum and Phil Collins declared he is back ... for better or worse.

As is the case every year, a slew of incredible rock albums issued forth in 2015, bravely facing a music industry still in a state of flux and fighting for relevancy against tough odds, as a celebrity-infatuated public continues to genuflect at the pedicured feet of Adele, Taylor Swift and Bruno Mars. Here is Part 1 of our list of the Top 10 rock albums of 2015.

Stryper - Fallen 2015

10. Stryper – Fallen: Heaviness is next to godliness for Stryper these days. On Fallen, the Christian metal stalwarts keep thickening their sound and toughening gnarly riffs without sacrificing the sweet, uplifting melodic sensibilities and transcendent vocal blends adored by fans of their '80s output. More lyrically ambitious than past efforts, Fallen finds Stryper taking more risks, while refusing to abandon the signature elements that have always called the faithful to worship.

9. Lamb Of God – VII: Sturm Und Drang: Appearing rejuvenated, with Randy Blythe's terrifying legal ordeal in the Czech Republic behind him, Lamb Of God emptied their bag of tricks on the wild ride that was VII: Sturm Und Drang, proving that the disappointing Resolution was an aberration and thankfully not a trend. The words "controlled fury" get thrown around way too often, but that's what Lamb Of God engage in here, with brawling, savage riffs, titanic chugs and catastrophic breakdowns making beautiful chaos. There is great vitality and energy to VII: Sturm Und Drang, things that have been missing from recent Lamb Of God efforts. Blythe's personal journey out of hell seems to have lit a fire under the band he fronts.

Cattle Decapitation - The Anthropocene
Extinction 2015

8. Cattle Decapitation – The Anthropocene Extinction: Pollution is choking earth to death, and nobody is really doing much about it. That makes Cattle Decapitation very angry. On The Anthropocene Extinction, the extreme metal idealists paint an ugly apocalyptic vision of severe ecological devastation, and their rage at the apathy and corruption of mankind is manifested in some of the most intense, disorienting aural madness recorded in recent memory. And while it all seems to come dangerously close to going off the rails, Cattle Decapitation skillfully orchestrates a frenzied, enormous riot of pulverizing beats, violent riffs and diseased vocals designed to shock and awe. Welcome to Thunderdome.

Iron Maiden - The Book of Souls 2015

7. Iron Maiden – The Book Of Souls: A bit long-winded perhaps, with three songs clocking in at more than 10 minutes in length, The Books Of Souls dares to go places that Iron Maiden has rarely ever ventured. As their approach continues to grow increasingly progressive, resulting in some of the most complex and dramatic creations of their career, Maiden still indulges in the kind of thrilling, thunderous gallops and soaring, twisting harmonies that have always driven their most stirring anthems. And while that's a comfort to their legions of fans, as is the fact that they haven't lost any of their instrumental brilliance, The Book Of Souls also shows they're still eager to broaden their horizons and deeply explore new lyrical themes.

6. Killing Joke – Pylon: At war with the forces of oppression and greed, these post-punk veterans go for the jugular on the exciting, heart-pounding Pylon. Surging with great momentum from start to finish, while enveloped in swirling, expansive darkness, Pylon is a spiritual and political uprising for Killing Joke, a deep forest primeval of tribal drums overrun by modern electronic and industrial insurgency. In the distance, the powerful, echo-laden voice of Jaz Coleman sounds the alarm for mankind, delivering poetic tidings of the peril and calamity that should befall us if we fail to heed these warnings.

Short Cuts: Killing Joke, Huntress, Grave Digger

CD Review: Huntress – Static
Napalm Records
All Access Rating: A-

Huntress - Static 2015

Behind the scenes, Jill Janus is dealing with some pretty serious shit, including a cancer diagnosis and myriad mental health issues. She seems to be gaining strength from that which seems hell-bent on destroying her. An imposing female presence in the dark, mysterious underworld of occult-inspired heavy metal, Janus has emerged from the shadows with her band Huntress with the wrathful Static, a Napalm Records outing that's a lean, riff-hungry animal on the prowl for mean hooks, clearly articulated song structures and sinister, gloomy melodies. Taking full advantage of her four-octave range, Janus sings with fierce, commanding strength through heavy, menacing crawls like the title track, "Brian" and the record's smoldering centerpiece "Mania," while "I Wanna Want to Wake Up" grabs hold and doesn't let go and the fast-paced "Sorrow" loves the thrill of the chase. Graduating from the Tony Iommi school of riff creation with honors, Huntress unloads a truck full of them here, all simple and effective, driving such tracks as the awesomely titled "Harsh Times on Planet Stoked" and "Fire In My Heart" straight through hell without stopping. All hail the Huntress!

CD Review: Killing Joke – Pylon
Spinefarm Records
All Access Rating: A

Killing Joke - Pylon 2015

For some, the recent appearance of the so-called "Blood Moon" brought with it a dark foreboding and dire predictions that the apocalypse was nigh. Maybe they were just sensing that a new Killing Joke record was on the way. The four horsemen of metallic post-punk – including shamanistic front man Jaz Coleman, bassist Youth, guitarist Geordie and drummer Big Paul Ferguson – haven't diluted their ominous, fire-and-brimstone warnings in the slightest. An immersive experience layered with electronica and industrial sonic debris and enveloped in the all-encompassing glow of thousands of burning embers, the thrilling Pylon is angry and spiritual, urgent and expansive with deep, echoing vocals and tribal rhythms establishing a connection between the primitive, the divine and a confused, violent modernity. At times an enormous monster intent on devouring whatever gets in its way, Killing Joke's engrossing 16th studio album urgently stampedes through "Delete" and "Autonomous Zone" with slashing guitars and a rapid, pounding heart rate. The thundering intensity of an engorged "Dawn of the Hive" channels its rage through insistent, pummeling drums, and a giant wall of guitars is furiously erected in an icy "New Cold War" that explodes in a feverish crescendo, the track's starry atmospherics mirroring those of an infectious, racing "Euphoria" and the arresting beauty of the cinematic "Big Buzz." Slick and hypnotic, "War On Freedom" drives on with a relentless will, while "New Jerusalem" sets its hooks with slow deliberation, savoring its heavy riffs and menacing grooves. Repent now, humanity.

CD Review: Grave Digger – Exhumation: The Early Years
Napalm Records
All Access Rating: B+

Grave Digger - Exhumation: The
Early Years 2015

The past is the past, and there's no sense trying to relive it. That is, unless you're German speed-metal champions Grave Digger, who decided to remake some of their '80s classics for a new collection entitled Exhumation: The Early Years. Unremittingly fast and aggressive, Grave Digger charges almost blindly forward with renewed vim and vigor, unwilling or unable to apply the brakes to a runaway train of razor-sharp riffs, searing guitar solos and rhythmic rampages. Old favorite "Headbanging man" sets a violent tone, thrashing about with white-hot intensity. Following suit, "Fire In Your Eyes" and the teeth-gnashing "Witch Hunter" are fast-moving conflagrations that sweep across the land with destructive power, while galvanizing anthems "Heavy Metal Breakdown" and "Stand Up and Rock" and their shouted choruses take unabashed delight in espousing somewhat tiresome metal cliches. Running on pure adrenaline, marauding charges "Get Away" and "Enola Gay – Drop The Bomb" are just as furious and the galloping "Here I Stand" has all the grit and rawness of early Iron Maiden. Although by this time, even the slightest shift in gears or a melodic interlude would be a welcome relief. Running with a pack of contemporaries such as Helloween, Sinner, Running Wild and Rage has kept Grave Digger from growing complacent, as Exhumation: The Early Years illustrates in convincing fashion.  
– Peter Lindblad

CD Review: Prong – Songs From The Black Hole

CD Review: Prong – Songs From The Black Hole
eOne Music
All Access Rating: A-

Prong - Songs From The
Black Hole 2015

Question Tommy Victor's punk credentials at your own risk. It may lead to a "Snap Your Fingers, Snap Your Neck" type of situation.

Once a sound man at New York City's legendary CBGBs in the late 1980s, Victor, the linchpin for the always incendiary alternative-metal device Prong, was practically embedded in what was a wildly combustible and intensely creative scene.

With a blistering new album of covers entitled Songs From The Black Hole, out via eOne Music, Victor and Prong revisit their punk roots, offering their own taut, high-speed renditions of songs from underground rabble-rousers Black Flag, Husker Du, Killing Joke, The Adolescents, Bad Brains and Fugazi, among others.

By turning the screws on these blasts of barely harnessed fury, Prong magnifies the propulsion and raging energy of Discharge's "Doomsday," Husker Du's "Don't Want to Know If You Are Lonely" and Bad Brains' "Banned in D.C.," while the pulse of Fugazi's slow-burning meditation on dying "Give Me The Cure" quickens, as Prong elevates its heart rate in a vigorous workout.

It's impossible not to notice the spotless production of Songs From the Black Hole, suggesting that Prong is somehow indulging in a sonic ritual purification of what is a surprisingly wide-ranging set of choice selections. The Morse-code guitars and chilly echo of Killing Joke's "Seeing Red" create an almost antiseptic environment, but in a remake of Black Flag's "The Bars," Prong takes great pains to restore all of the grit and unbearable tension of the original.

And although the disjointed version of the Butthole Surfers' "Goofy's Concern" is a slight misstep and their lukewarm rehashing of Neil Young's classic "Cortez The Killer" seems out of place, the mean grooves and tight riffs of Sisters of Mercy's "Vision Thing" – devoid of gothic blackness – are ruthlessly compelling. As is Songs From the Black Hole as a whole.
– Peter Lindblad

CD Review: Prong – Ruining Lives

CD Review: Prong – Ruining Lives

Steamhammer/SPV

All Access Rating: A-

Prong - Ruining Lives 2014

Tommy Victor threw away the rulebook when Prong was formed, his experiences as a sound man at the famed punk club CBGBs undoubtedly opening up his mind to what was possible musically.

Always a little different and usually way ahead of the curve, the daring New York City alternative-metal outsiders introduced old-school hardcore hostility to trash-metal, while occasionally trespassing the fenced-in junkyards of harsh industrial noise and electronic squalor to steal taboo sounds and allowing undercurrents of rumbling, Killing Joke-style post-punk brooding to seep into their violent urban sonic wasteland.

All of this, of course, being subservient to Victor's rampaging, brutally efficient guitar riffs, Prong's pounding rhythmic machinery and the toughest, most tenacious hooks around. Now comes Ruining Lives, a Steamhammer/SPV release that's a dark, streamlined whirlwind of activity, with Prong's relentless energy cloaked in unexpectedly rich and full tonality. As one surgical riff strike after another is detonated, the sleek and powerful Ruining Lives races forward, with Victor's clear, forceful vocals issuing a series of enigmatic calls to arms, breaking through the record's glossy sheen.

Harnessing all of Prong's far-flung influences and aggression in a controlled burn, Ruining Lives consists of songs of sturdy construction and ferocious pace, never sitting in one place long enough to grow bored. Less angry, but still provocative lyrically, Victor sets out to free the soul from whatever binds and oppresses it, exploring themes of metropolitan alienation and self-determinant living as the threesome slams headlong into the bruising opener "Turnover" and its hard-hitting successor "The Barriers." Later experimenting with a new time signature, Prong turns the innovative "Come to Realize" inside-out, injecting it with an "out of left field" riff that, if nothing else, proves the band is still capable of surprising people.

High-speed, high-impact material like "The Book of Change" thrive on pure audio adrenaline, but the title track is a heavy, more ponderous beast that grows more powerful by the second, as do the moody "Absence of Light" and "Remove, Separate Self," two songs with quickening tempos and gripping, galvanizing choruses. Still as disciplined as Helmet, but with Killing Joke's subversive melodic sensibilities bubbling up from the cold, hard ground, Prong hasn't ruined anything, including their chances for record of the year.
– Peter Lindblad

Prong: 'Ruining Lives' and 'Cleansing' souls

Tommy Victor talks new album, 'Cleansing' anniversary and more
By Peter Lindblad

Tommy Victor of Prong
Photo by Tim Tronckoe

Tommy Victor is beating his chest with pride over Prong's upcoming release, Ruining Lives. proclaiming its greatness to anyone who will listen.

Due out May 13 in the North America via Steamhammer/SPV, it's the aggressive, slammed-up-against-the-wall successor to 2012's bruising Carved Into Stone, a bone-on-bone record of white-hot intensity and rugged, jawbreaking brilliance that critics went gaga for two years ago. Victor believes Prong upped the ante on Ruining Lives.

"This is the fastest written and recorded Prong album ever, and it has more great songs than any previous Prong record," said Victor, the guitarist, singer and mastermind behind one of alternative-metal's most ambitious and punishing acts. "I am particularly proud of the vocal performance, and I think we captured some outstanding sounds on this album."

Especially adept at combining industrial and post-punk elements with a raging street-metal ferocity and thrash-metal explosiveness, the fiercely independent Prong has carved out its own niche since forming in the late 1980s, toying with electronics and different genres without ever sacrificing power or raw energy for the sake of trying something different.

Tommy Victor, master of the riff

It all started at the famed punk club CBGBs, where Victor worked as a sound man. Together with the venue's doorman, Mike Kirkland, and former Swans drummer Ted Parsons, Prong put out two indie records, the Primitive Origins EP in 1987 and Force Fed in 1988, before signing to Epic Records in 1989 – the result of a furious showcase performance at the old Ritz in their New York City home with local hardcore heavy-hitters the Cro-Mags and German trash heroes Destruction.

A year later, Prong let the classic Beg to Differ loose on the world, a powder keg of a record that helped bring about a sea change in heavy metal, as would contemporaries Helmet and Pantera. Prove You Wrong arrived in 1991, followed by 1994's landmark record, Cleansing, which celebrates its 20th anniversary this year.

Washing ashore in the wake of the Whose Fist is This Anyway? EP of remixes from the Prove Your Wrong album and recorded with former Killing Joke bassist Paul Raven and keyboardist John Bechdel, Cleansing had a muscular groove and a shocking amount of manic electronic edginess. And it had "Snap Your Fingers Snap Your Neck," often cited as having one of the greatest riffs in metal history.

Not wanting to repeat themselves, 1996's Rude Awakening was a departure, exploring the post-punk terrain charted by Killing Joke and welding industrial textures to its already potent sonic machinery. That run of albums was not only prolific, but it also represented an astonishing burst of creativity for Victor and Prong.

Prong: Tommy Victor, Tony Campos
and Alexei Rodriguez (in no particular order)
Photo by Tim Tronckoe

Now comes Ruining Lives, produced by Victor with help from Steve Evetts and featuring the rhythm section of Tony Campos and Alexei Rodriguez. As much a throwback to Prong's Beg to Differ era as it is a step forward in a bold new direction for a band that is constantly pushing the envelope, Ruining Lives takes everything Prong has done in the past and forms fresh, modern sonic art of it all. Victor talks about Prong's past and the new album in this exclusive interview.

Why do you think this record came together so fast?

Tommy Victor: It had to. I was presented with a strict deadline, and I agreed to it. It was important for me to honor that.

Prong- Ruining Lives 2014

Where Carved in Stone was really lean and maybe somewhat more minimalist in its approach, and just a relentless attack from the word go, Ruining Lives seems like a more diverse record, one you can immerse yourself, while still being heavy and crushing, especially on the title track and "Absence of Light." Do you see it that way as well?

TV: Not particularly. I think Ruining Lives is relentless as well, if not more so. There are songs that cross into a post-punk and diverse vibe on both records. Like "Put Myself To Sleep," "Path of Least Resistance," "Reinvestigate," "Subtract" maybe on Carved. Ruining has "Windows Shut," "Self Will Run Riot," and "Absence Of Light," and all have a lot going on in them.

"Come to Realize" is a different animal for Prong. Talk about how that song was created, how it evolved and about the unusual time signature you used. Did that make it a difficult song to record?

TV: It was fairly easy to lay down. Once you memorize the riff, it's a no-brainer. Prong started doing some odd timing back in the Beg To Differ years. I wasn't afraid to build a song out of that riff, so that wasn't an issue neither.

"Turnover" and "The Book of Change" are full of really powerful riffs and hard-hitting drumming. To you, what goes into making a great riff, and who do you think comes up with the best of them?

TV: Thanks. In the case of those songs, there wasn't a lot of thought put in. I usually jam to a certain BPM, to a metronome. I mix it up, and something seems to come out of it. There are so many great riff masters out there. I'm a little weird that way, though. I think Geordie Walker from Killing Joke writes some of the catchiest riffs of all time, and consistently, for instance. Obviously Dime [Pantera's Dimebag Darrell] had an amazing knack for riffs. [Slayer's] Kerry [King] and Jeff  [Hanneman], R.I.P. You have to admit, Jack White  is a genius at that too.

Tommy Victor performing
live with Prong

Lyrically, has your world view changed at all since the early days? Are you reacting to the world and its problems differently than you used to, or do the same things anger and provoke you to write the way you do?

TV: I had a lot of undisciplined anger in the old days – self pitying, too. There were some good messages, though, back then. "Snap Your Fingers, Snap Your Neck" has a good "live for the moment attitude," which is still cool to me. "Broken Peace" has a positive message, too, out of general frustration, and that's topically something I continue to focus on. There's just more of it now – believe it or not nowadays. The world is what it is, we all have to adapt to reality.

In what ways does this album hearken back to Prong classics like Beg to Differ and Cleansing, and in what ways has Prong evolved since then?

TV: Well, I've always had to sit in a room, maybe even a bathroom or a closet, and come up with lyrics and song ideas, like any writer. That doesn't change. Modern technology and budgets dictate the actual recording process, and that has changed things drastically. There are  lot of things you don't have to do now. And because of that you have to be more careful. I dislike auto-tuned vocals, for instance. All my vocals are performed and doubled. Fortunately, I have experience with that and can do it in a fair amount of time. The vocals have matured considerably I believe. I've learned by doing and they've progressed – same with guitar. I can blast through guitar tracks a lot faster than in the old days. That's all technical stuff. I've been blessed with getting Steve Evetts to work with. He's a godsend. also finding [producer/engineer/mixer] Chris Collier has been amazing. He's one of the most talented guys I've ever been involved with. 

You produced Ruining Lives, and you've said that you're especially proud of the vocals on the record. Did you record them differently this time around to enhance them, or was it just a matter of the performance being stronger?

TV: Well, I answered most of that in the last question. There is a progression of the same attitude on Carved Into Stone. Evetts knows how to coach singers. He produced the vocals on Ruining Lives. It's great to have him in the control room while I'm cutting vocals. Years ago, I was on my own. It was always, "Tommy go in the booth and scream, " and I've realized I don't need to do that, through Steve's guidance.

You worked as the sound man at CBGBs. How did that prepare you for what you experienced with Prong?

TV: It was a boot camp for me. I was forced to be part of the scene. I saw all the bands. And I could see what not to do. I had a firsthand glance of what was going on, so Prong could make decisions based on that knowledge.

What do you remember most about that show at The Ritz with the Cro-Mags and Destruction that helped you get signed by Epic? 

TV: I remember the amazing response we got. We had been fighting for a Rock Hotel show for a couple of years. Finally, [original Prong bassist] Mike Kirkland got [Rock Hotel promoter] Chris Williamson to agree on putting us on that show. It was an epic show that got us signed to Epic.

Talk about the progression or the evolution of Prong from Beg to Differ on through Rude Awakening. Those albums are so innovative and have elements of post-punk, industrial and metal, among others. Where did that desire to combine these different genres come from?

TV: There was beginning to be hoards of thrash-metal bands, noise/ industrial bands, hardcore and crossover bands. So what would be different? How would Prong stand out? I couldn't rely on my playing totally nor my singing. I was okay and got by. I had to rely on smart riffs and stylistic maneuvering. We also had to look to the future a lot in order to maybe break new ground. And back then there was a high ceiling for that. A focus on "songs" inevitably became a priority as well, with less emphasis on strict riffing.

Prong - Cleansing 1994

Cleansing turns 20 years old this year. What are your impressions of it all these years later, and why do you think it remains such an influential record?

TV: It's a classic, and I have no qualms about proclaiming that. It's a signature rock record, not just metal. It opened a lot of doors for a lot of new artists. It's a killer sounding record. [Producer] Terry Date was on top of his game. We made a lot of great studio decisions together. It was a fantastic experience. And it was at a time when Epic records were scratching their heads wondering what the hell we were doing.

You had the EP Whose Fist Is This Anyway?, which came out prior to Cleansing. How did that work influence Cleansing? 

TV: Well it got Paul Raven interested in taking up the bass role in Prong. We had him do a remix. Then we became friends and eventually led to him playing in the band. To those who don't know, that was the first remix record ever done by a metal band. Ted Parsons and I fought hard to get that sold to Epic records management.

Is "Snap Your Fingers Snap Your Neck" a song you feel represents what Prong is all about, or is there another that you feel is under-appreciated and deserves more acclaim?

TV: It's a magical track. We actually started playing that song while Troy Gregory was still in the band. People loved it from the beginning. Some songs are just like that. I'm noticing "Turnover" having that kind of response now.

Next up for Prong? Lots
of touring
Photo by Tim Tronckoe

Ruining Lives seems to revive so much of what makes Prong so interesting and still relevant these days. Does it seem to bridge the old and the new for Prong?

TV: I wouldn't disagree with that. It's got the riffs, it has the hooks, it has the grooves, it's got some of the New York hardcore vibe, it's got the post-punk undertones. It's a solid Prong record.

What's next for Prong?

TV: Touring. There's a lot coming up. Then writing for a new record. Maybe I'll do the next one in two months time, not three.

CD Review: Killing Joke - Live at Hammersmith Apollo

CD Review: Killing Joke - Live at Hammersmith Apollo

Four Worlds USA

All Access Review: A

Killing Joke - Live at Hammersmith Apollo 2012

Jaz Coleman is lucky that his Killing Joke co-conspirators didn’t shoot him for desertion. Late this summer, on the eve of the industrial metal/post-punk agitators’ tour with The Cult and The Mission, Coleman went missing, leaving the rest of Killing Joke wondering just what the hell happened to him. Then, there were the blog posts, where Coleman is alleged to have effectively taken a flamethrower – figuratively speaking – to both outfits in writings that can charitably be described as “derisive” at best and downright “hostile” at worst, announcing, without his band mates’ consent, that Killing Joke wasn’t going on the road with those stiffs. The Cult and The Mission would have to forge ahead without them, much to Coleman’s delight … or was it?

As it turned out, the enigmatic Coleman was alive and well, wandering like a nomad in the Western Sahara – much like David Carradine in “Kung Fu” – working on new solo material and a book. He has since denied posting those comments and pledged to ferret out the imposter, although anybody expecting to ever see a triple bill with these three acts again should probably have their heads examined. Fortunately, Coleman, who’s done this sort of thing before, having fled to Iceland in the early ‘80s when he thought the apocalypse was nigh, was present and accounted the night of this raging Killing Joke performance recorded for Live at Hammersmith Apollo, released in October by Four Worlds USA.

Shaking his fist at totalitarian governments, greedy banks and an overpopulated, apathetic world that is consuming its natural resources at an alarming rate while being seduced by the false promises of technology, Coleman proves himself a dangerous and formidable insurrectionist, his serrated vocals cutting through the gloom and volatility of Killing Joke’s atmospheric synthesizers, rumbling bass and drums and coils of razor-wire guitars with ease. Whether they are brutally beating “Wardance,” the stomping “This World Hell,” or the racing “Asteroid” to a bloody pulp with abrasive, bare-knuckled metallic riffs and pummeling rhythms, or urgently steering a battered vessel of melody through the stormy, roiling seas and beautiful chaos of the distress call “Absolute Dissent” – introduced by Coleman screaming, “I don’t believe in a micro-chip world!” – Killing Joke is edgy and explosive on this glorious occasion, evidently an anniversary for the band.

Throughout their 30-year history, Killing Joke has always trafficked in sounds that are ominous and fierce, and the version of “Pssyche” on this record, with its hard-charging riffs and desperate aggression, is as visceral as it gets. But, Killing Joke is just getting warmed up. With its strong undercurrent of dark energy and its prison riot chorus, “Depth Charge” is a mean bull that sees nothing but red, circling and sizing up whatever matador is stupid enough to challenge it. Growing more and more menacing with every riff, the tension builds to almost unbearable intensity in “The Wait” and “Great Cull,” these angry, gathering swarms of bounding bass lines and scything guitars cycling around and around in some demented game of tether ball, as Killing Joke’s original lineup of Coleman, guitar terrorist Kevin “Geordie” Walker, Martin “Youth” Glover and Paul Ferguson make the most rancorous and uncompromising, yet utterly compelling, racket together.

And then, just when it seems that Killing Joke is unable to extricate itself from this wild mosh pit of sound, they turn moody and strange, with the otherworldly, echoing dub-infused phantom “Ghosts” haunting this particular chapel and the clean lines and synth waves of “Fresh Fever” resurrecting the Dark Wave flourishes of ‘80s contemporaries Echo & the Bunnymen. In this live setting, however, it’s the most combustible hits, like the swirling, dizzying rush of “Eighties” and the sprawling “Pandemonium” that closes out this two-disc set, that win the day, and Killing Joke’s eschewing of its more electronic, dance-oriented material for the heated, gothic hard rock that dominates this smoking furnace of a playlist is a wise choice.

Before introducing that final stab that kills off Live at Hammersmith Apollo, Coleman expresses his profound love and admiration for the three men who’ve joined him on this journey through the bleak ruins of civilization. Hopefully, they’ve forgiven him for his unscheduled walkabout, and there will be more Killing Joke releases like 2010’s masterstroke Absolute Dissent, from which quite a bit of Live at Hammersmith Apollo is drawn. Here’s to you, Jaz. Rock and roll needs your intelligence and unpredictable personality more than ever.

-  Peter Lindblad