As mentioned from other reviews each one of the albums' songs are great and it really is a matter of personal taste, they all loosely stick to the same sound. There is the original 8 tracks from the album, plus another album's worth (9) of bonus/extra tracks which are a mix of B-Sides, different mixes of the album's original tracks and plain left out songs so it's pretty big value for especially for KJ fans! Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term. Mind you, you have to like the distinctive vocals, guitar and rhythms of this niche indy band though. Everyone likes this song, and the goth dance jam at the end of the album version is essential even though most fans of the song haven’t even heard it.

The first track i heard from this album was actually "Eighties", a song that did nothing for me then and nothing for me now. That is not to say the album entirely sucks - despite the shift away from their metal/punk leanings, the new modern pop-influenced sound occasionally works. As always with these guys, the main interest here lies within the soundscapes - OMG they are insane on here. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. The tracks are noticeably shorter and more concise than other efforts as well, but definitely more rock than pop to my ears.

The album finds the band caught between their earlier aggression and a calmer, more immediately accessible approach. Killing Joke argueably hit their commercial peak with Night Time, an album that contains a lot of the dissonant sounds of their earlier works but also a much more accessible style of songwriting.

All tracks are written by Killing Joke ( Jaz Coleman, Paul Ferguson, Geordie Walker, Paul Raven), except as noted Side one No. I did play a few songs from this album to my friend yesternight and she thought it was them, and I’m sure I would’ve needed a few minutes to realise myself if I hadn’t known what I was listening to in advance. It might be Killing Joke’s, but it’s not at all far removed from what you might expect by that description. Rolling Stones associate and producer Chris Kimsey succeeded in his mission to water the band’s savagery down and sell more records, but he lost much of what made the group unique along the way. The opening title track is an excellent slab of club music for vampires with great programmed drums and guitar work, catchy and slick yet with a dash of nastiness that shows what the record should have been.Yeah, songs like "Tabazan" get a little obscene, but dirty as they may seem, there's an arcane truth to all that's said on _Night Time_. Like almost any ‘80s pop (and KJ) album, the song structures on here are pretty basic, and you certainly shouldn’t come in expecting anything subversive on that front. and it would be even more definitive if it weren’t on the same album as the deserving classic “Love Like Blood”. The tension between the two sides of Killing Joke struck a perfect balance on Night Time, and as a result, it is arguably the quartet's freshest album to date, with a warm, anthemic quality now supplementing the blasting, driving approach that made the band's name. And I know Love Like Blood is KJ’s biggest hit but it does very little for me - it’s well produced but there’s not much of a song there and Coleman keeps singing the hook as “I love my butt”.