Reviews list for Killing Joke - Hosannas From the Basements of Hell (2006)

A punishing force in industrial rock/metal, Killing Joke kept their comeback going since their 2003 self-titled album and 25th anniversary DVD XXV Gathering with another album. The self-titled album was more metallic than their earlier works and had Dave Grohl (Nirvana/Foo Fighters) as the drummer, stirring up brilliant energy. However, fans of the band's mid-80s material wanted more of what they used to have, and vocalist Jaz Coleman wasn't highly satisfied with how that album turned out. He was determined to find the right balance in their next offering...

Fast forward to the recording of Hosannas From the Basements of Hell. The sessions took place in Studio Faust, a studio in an ancient building in Prague, specifically in its deepest darkest basement, aptly named Hell. The band can battle Satan's demon horde, feast on their remains, and reign in the cavernous darkness. The album was recorded using vintage equipment from the time of the band's debut release Turn to Red, giving Hosannas the massive intensity Killing Joke fans want.

"Lift up your spirits!" Coleman shouts to begin "This Tribal Antidote", gathering around "celebrants in a state of merriment", i.e. fans of the band, as we hear the guitars slay. The title track shows Coleman taking on the perspective of one of those fans, even referencing this very band performing, "I walk down the stairs and Killing Joke waits for me". The music and lyrics sound f***ing supernatural in "Invocation". I definitely like the beat. You get to hear some of Paul Raven's last audible bass with the band before his passing the next year, RIP. There's some ominous cello to go along with the strings. It would've been cooler if the beat was more synchronized, but it's still OK.

"Implosion" has the relentless drum-work of Benny Calvert, alongside the guitar riffing of Geordie Walker (also RIP), the vocal melodies of Coleman, and the booming bass of Raven. The out-of-this-world "Majestic" has majestic guitar force. One of the two long epics, "Walking With Gods" has some riffing to remind some of the band's early 80s era.

The other epic, the nearly 10-minute "The Lightbringer" builds a bridge towards the mid-80s. That can be considered a highlight, though the ultimate highlight goes to this next track... "Judas Goat" leads you to the darkest depth of Hell with more technical drumming, guitar rhythms, and singing almost like a mantra. Then you're teleported back home in "Gratitude" as Coleman sincerely thanks you and the gatherers for that journey, "A toast for the man who loves every hour of every day."

Although Hosannas hasn't reached as much success as the 2003 self-titled album, it shows the band having more creative freedom. Almost every track ranges from 5 to 10 minutes, similarly to ZP Theart-era DragonForce albums. The band has tighter focus here than in previous albums. You know who to thank for this music....

Favorites: "Hosannas From the Basements of Hell", "Invocation", "Majestic", "The Lightbringer", "Judas Goat"

Killing Joke are one of my favorite bands. “Hosannas from the Basement of Hell” is their 12th studio LP and features the band over a quarter century into their career.  While Killing Joke started off as being comparable to a post punk band, they beefed up their sound on 1990’s “Extremeties, Dirt, and Various Repressed Emotions,” and have been on the heavier end of the spectrum ever since. They’re still absolutely the same band as on their first LP. However, Killing Joke’s music is based on repeating rhythms. They are not the type of band that has dozens of changes in a song. The approach taken by vocalist Jaz Coleman and guitarist Geordie hasn’t really changed, it’s just that the sonic foundation they play over has become more, well..., Metal. The point is, if you enjoy this record, you would probably enjoy the early records as well. It’s not the same contrast as dealing with early vs. later Ministry records. 

So onto this specific slab. “Hosannas” is not a bad place for the uninitiated to start delving into Killing Joke’s music. There are two caveats though: the songs are LONG, averaging at about 7 minutes. Again, this wouldn’t be excessive for a band that has several changes in their songs, but you pretty much know everything you’re getting into within the first 30 seconds. So technically, most of these tracks could be functional at half the length. That said, this is the sort of music you sink into. I like where these songs take me and I don’t mind staying there. The other is the track “Invocation”, which I HATED the first time I heard it. While it doesn’t bother me that much anymore, it’s not so much it grew on me as I just got used to it. It has a grandiose vibe similar to Led Zeppelin’s Kashmir, although a bit more Arabic sounding. There are a couple of similar tracks on their 1994 Pandemonium LP, and I like those, but this sounds like they were trying to create a movie soundtrack, and I just don’t like it. It probably has to with the guitar being too minimal and the vocals being too sparse, and those are the essential ingredients to Killing Joke’s sound. Plus the main part/riff just sucks. The reason I’m spending so much time talking about the one dud instead of the eight gems is because that song repelled me from this record for YEARS. So it was a pleasure to revisit this later and realize the rest of the album kills.

While it’s not my favorite KJ album (that honor goes to “Fire Dances”), Hosannas has all the elements that I love about the band. Geordie is a one of a kind guitarist: melodic and chiming but abrasive, armored in sharp distortion and reverb. His style isn’t far off from post-punk guitarists like Public Image Ltd’s Keith Levine, but it’s much more brutal. Jaz Coleman is a great frontman, a true weirdo. His voice ranges from smooth and spooky to gruff and aggressive. Despite the longer song lengths this one of the band’s faster records. Previously mentioned dud notwithstanding, this album charges from start to finish. The rhythms may be repetitive, but they are pummeling and awesome. My favorite track is probably “Implosion.” While the record warrants many words, I’m not sure what else to add. Just listen to the damn thing! And avoid the 1988 LP “Outside the Gate” unless and until you become a completist.