Artist: Killing Joke
Title: Love Like Blood
Description: single; track Night Time
Release date: 1985
First heard: 1985
In 1990, Killing Joke, or Killing Joke’s record company, or Killing Joke’s record company’s PR company, came up with the wheeze of promoting their new record by sending a female stripper to the offices of various music publications. Just doing the job she was hired to do, the stripper was led into the middle of the NME shopfloor where she proceeded to disrobe to the sounds of the new Killing Joke single emanating from a ghetto blaster. I am, in retrospect, deeply proud of what happened next. Male staff members (who outnumbered female staff members by around 10 to one) evacuated the main office, en masse, and gathered in the production room rather than be a party to the degrading display. Our feminist credentials intact, and the exotic dancer’s clothes still on, she was gently guided into the adjoining offices of Shoot, the then-weekly football magazine, where her work was unironically appreciated by young men lacking our snowflake tendencies. I’m pretty sure the magazine reviewed the Killing Joke single.
In many ways, as well as a fun anecdote about the late-80s pre-Loaded male identity crisis (the future founding editor of Loaded was among the embarrassed new men – although it was he who brilliantly came up with the Shoot wheeze), this story illustrates the core difficulty of Killing Joke. One of the keystone British post-punk bands, still crazy after all these years under the stewardship of Jaz Coleman, they are, like Steven Seagal, hard to kill. Like many disaffected aficionados of the blunt-instrument force of much British rock made in the crucible of punk, I flocked to their percussive musical message around 1980, gritting my teeth to Wardance, Change and Requiem via John Peel. (Coleman was furious in a way that only a well-educated former chorister and classically-trained musician who studied international banking for three years in Switzerland can be.) They’ve dabbled in death disco, and been heavily remixed, but Killing Joke remain a racket, as influential as the Beatles to bands too young to have been into the Beatles. But they act as if they don’t want you to like them.
Love Like Blood is, for me, the high watermark of their collective genius. I remember buying the 12-inch in 1985 and playing it continually in my study cell in Battersea, all the while slightly bothered by the cover photo of a ripped warrior wielding a Samurai sword, and the elemental viscera of the lyrics. “We must play our lives like soldiers in the field,” Coleman strains, with feeling. “The life is short, I’m running faster all the time.” There is an existential panic at the centre of this thundering anthem to strength and beauty destined to decay. Is it, like one of Leni Riefenstahl’s mountaineering films, a supremacist paean to human excellence? If so, is that a problem? We are certainly seem to be urged down a quasi-fascistic, Wagnerian path, where “legends live and man is god again.” Paging Mr Nietzsche!
The blood, the rose “cut in full bloom”, the burning hearts, the frustration and despair, love and hate, promised lands and fields; and the refrain:
’Til the fearless come and the act is done
A call to arms, driven by Paul Raven’s stomach-ache bass, Geordie Walker’s mountaintop guitar fanfares and Paul Ferguson’s precision analogue drumbeat over that twilight synth wash, Love Like Blood is a recruitment as much as a pop or rock song, a sincere promise of immortality “as we move towards no end.” Coleman’s lyrics dare us to get onboard. Are we up to the task ahead? Though a gifted man of letters, he is also a man of action. And it’s that sheer physicality that rises up out of these six minutes and 44 seconds of meat beat manifesto. It’s super, man.
The band produced it, and the album, with Chris Kimsey, who cannot go unheralded, a veteran in both engineering and co-production on several key Rolling Stones records and Led Zeppelin III (he also recorded Frampton Comes Alive!) – his marshalling of the Joke’s individual contributions to the overall signature matches that of a drill sergeant. I will always hold a candle for the early Killing Joke triumphs, the likes of Follow The Leader, Unspeakable and The Fall of Because, but it’s no coincidence that the radio version of Love Like Blood became their first Top 20 hit (and, at time of writing, their last). It is, simply, impeccable; fearless; peerless; the deep-rooted sound of a band in full bloom. And yet, queasy listening. Not a relaxation record. But that which does not destroy Killing Joke makes them stronger.
Now put your shirt back on.