Union Transfer


Killing Joke

Event Cancelled: Canceled due to some health issues for one of the band members. Refunds available at point of purchase.

Killing Joke

The Soft Moon

Tue, February 16, 2016

Doors: 8:00 pm / Show: 8:30 pm

Union Transfer

Philadelphia, PA

$20.00 - $100.00


This event is all ages

"Dear Gatherers and friends, it is with great sadness and regret due to some health issues for one of the band we will not be able to embark on our 2016 U.S. Tour. This has come as a shock to us all, please give us the time to work this out and we hope to return to touring as soon as possible."

Killing Joke
Killing Joke
SOME BANDS exist beyond the circus.

Killing Joke celebrate their 35th anniversary in style, commencing in 2013 with the release of ‘The Singles Collection 1979-2012’ and a world tour starting in Europe. This important year will also see the band release a new studio album.

With a fierce intelligence plus a thirst for esoteric knowledge that matches a music that is visceral and almost spiritual in its primal spirit, Killing Joke are like no other band. This is a group who came out of punk and then set out on one of the most remarkable and idiosyncratic journeys ever.  
The Singles Collection 1979 -2012, on Spinefarm/Universal, captures their ever-evolving story with a series of dark, apocalyptic songs. They have successfully combined disco and funk and a shamanic wisdom with the dark side of the punk fall-out.

Their influence has been enormous, with an unlikely roll-call of musicians taking their cues from the KJ catalogue – from Nirvana to most modern American metal to many DJs and dance music mavericks… few, however, coming close to the band’s innate power.
Killing Joke, with their original line-up of Jaz Coleman, Geordie, Youth & Big Paul continuing to hold firm, will soon set about recording a third studio album for the Spinefarm label, with Youth once again grasping the production reins. The release date of this new studio album is likely to be late 2013.

Coupled with this, is a career-spanning film, ‘The Death And Resurrection Show’ – part documentary and part celebration of this unique outfit, dealing with the myths and legends that swirl around their ever-evolving story.
Killing Joke’s last studio album, ‘MMXII’ (‘2012’), is a dense and dark work that manages to combine their trademark relentless guitars, pounding tribal funk rhythm section and dark & powerful message with moments of rare beauty. The Album’s key themes are political, anti-capitalist and forward-looking…
‘MMXII’ is a work that captures many of the traits that marked them out, right from their inception in 1979 in Notting Hill, London, when they seemed to arrive fully formed with a sound that was totally original – the result of four very different, amorphous individuals combining into a whole.

When their original line-up of Jaz Coleman, Geordie, Youth & Big Paul reconvened in 2008 after working together intermittingly, that strange voodoo once again filled the room. Individually, they have a power, but together they have something sulphurous and strong that few alliances can match.
The classic line-up’s extra-curricular activities that include conducting orchestras, producing multi- million selling acts and recording Arabic musicians are about as far away as you can get from the band themselves; but when they reconvene, something very different comes from these four distinct personalities.
Killing Joke are not an average band with an average agenda; they lock the door and let the ritual commence.
Anything can happen.
Frontman Jaz Coleman is a smart and quite dangerous individual who stares you in the eye and cackles the death-rattle cackle of a man whose wild and unfettered thinking is getting proven right as he marvels at his band’s profound chemistry…
“Killing Joke is a dark and beautiful playground,” he expounds. “It has the complete honesty of being able to say literally anything. It’s an amoral place. There are no boundaries. We can see each other as we are, nothing is really planned.”
In a time when the news is fast-forward and the planet seems to be descending into chaos, who better than Killing Joke to reflect this?
Jaz Coleman lives on a small island in the Pacific, three hours flight-time from New Zealand, where they have banned mobile phones because “the signals affect the bees”. He conducts orchestras, and has been chosen as Composer In Residence for the European Union where he will be commissioned to write music for special occasions. He also records Arabic music in Cairo.
An intellectual on a dark and daring quest for The Truth, Coleman deals in both the esoteric and the straight-ahead. He is about the power of nature and the responsibility of the human race. His conversation is peppered with history, religion, philosophy, madness and ancient & modern theories of the beyond.
Killing Joke, for him, is not his only outside activity…
“It’s a completely different thing to the classical entity. When I’m conducting, my mind is on fire, I have to anticipate everything; conducting orchestras is a more cerebral process, it’s mathematical. With Killing Joke, you’re trying to get into a state of frenzy.
“They are different mediums – they are both music, but that’s where it ends. In terms of the two aspects of myself, one part is an individual, a hermit, and the other part a communist who likes to share music with people.
“Killing Joke is a collective and the classical side is one man’s vision…”
The music Killing Joke create is an avalanche of sound that is empowering, whilst jolting you awake.
Killing Joke are as fascinating as chatting with Coleman, as he talks of future humans living forever but with no emotions, and of the Age Of Aquarius and the cycles of time, the shift in the earth’s electro-magnetic field, the end of extreme capitalism, the Arab Spring and how his trips to Cairo to record music there have added to his belief that when Cairo falls everywhere else follows.
Clearly operating at a different speed, Coleman is lucky to have a band who don’t just match this vision, but are very much equal parts of it…
“We talk about this stuff for days on end,” he explains, adding, “when we make an album, we have no preconceptions of what we are going to sound like, and if we did, those preconceptions would be smashed to pieces very quickly.”
Killing Joke are the only honest band left on the planet. If you want to know what now really sounds like, they have captured it with their tsunami of pure sound.
The Soft Moon
The Soft Moon
Luis Vasquez never intended for The Soft Moon to reach the public’s ears; for him, music has always been about self­-actualization rather than self-aggrandizement. Nevertheless, the bleak, hushed sounds he created years ago in his small Oakland apartment bubbled to the surface and 2010 saw his debut LP, The Soft Moon, released on Captured Tracks rise to critical acclaim. Pitchfork’s 8.1 review stated that Vasquez made “oblivion seems like an enticing prospect” and, indeed, listeners were immediately drawn into his murky musical wasteland, swathed in the moody atmospheres of jagged dark wave and wayfaring post­punk. For them, and for Vasquez, there was no turning back. The Total Decay EP and Zeros emerged soon after, and now Vasquez returns with The Soft Moon’s most introspective and focused album to date: Deeper.

Following live line­-up changes and a lull in the The Soft Moon’s constant touring schedule, the year 2013 found Luis Vasquez lost in the void. Though he fatalistically stated that 2012’s Zeros would be the last album where he was the sole songwriter, Vasquez realized that The Soft Moon has always been one man’s vision. Over time, it’s been the one place where Vasquez can express himself, totally and singularly, on his own terms.

Thus, in July of 2013, Vasquez decamped from Oakland, CA to Venice, Italy, unsure of where The Soft Moon would land. While Zeros was written and recorded between long days on the road, Deeper was begat from an almost primal urge to recoil from the world and experience total solitude. During the writing process, Vasquez pushed himself to discover the reality and nightmare of living with yourself, in entirely foreign surroundings with nothing and no one to fall back on. Stepping back and letting inspiration fall where it may, Vasquez only had one goal in mind for his third album: to pen his most emotional record yet. Between frequent visits to Berlin, Vasquez retreated to Venice’s Hate Studios, located in the mountains near electronic guru and spiritual anchor Giorgio Moroder’s hometown.

At Hate, he worked for almost a year with producer Maurizio Baggio to piece together Deeper, only completing the album in August 2014. While maintaining the stark sonic formula so indicative of The Soft Moon’s music — that bass that reeks of chorus, those unrelenting, mechanized beats, that wailing synthesizer and those eerily, angular guitar lines that worm into your ears and never leave — Baggio also worked to refine the album’s gothic palette, leaving Vasquez to concentrate more intensely on songwriting and singing than ever before:

“I’ve never worked so closely with someone before. Working with Maurizio felt right and I completely opened up to him during the entire process. I finally felt the urge to express myself more verbally with this record and I was able to focus more on songwriting rather than just experimenting with soundscapes.”

The voice of The Soft Moon has never been more clear and honest than it is on this record. With eerie, immersive tracks like the dogged “Far” and slow, beautifully melancholic “Wasting” (the first track written for Deeper), the album is a penetrating portrait of Vasquez as he wrestles thoughts of suicide, vulnerability and what it means to heal. By facing the most hopeless parts of himself without illusion and putting his past demons to bed, the creation of Deeper was an intense personal exploration of existence for Vasquez — old wounds were forcibly opened, deep anger and paranoia were manipulated into song — and he did not emerge unchanged. Deeper may have delivered Vasquez back to the waking world, but it willingly drags us further into The Soft Moon’s dark, euphonic universe once more.
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123