Comments for Shaun Pettigrew

Comment on [the death and resurrection show 22.2.11 by shaunp

shaunp — Thu, 09 Feb 2012 08:50:49 +0000

Hi Annie, sorry I have not been on this site for a tad. Edit is finished just doing the 2nd offline. Exciting should be out at the end of UK Summer 2012… Just in time for the ‘Killing Joke’ ‘End of the World Party’ here in NZ. Should be fun!

Comment on [the death and resurrection show 22.2.11 by Annie Fannin

Annie Fannin — Sat, 21 Jan 2012 13:44:31 +0000

Looks fantastic..can’t wait to see more..congratulations to you all..it has been a epic journey from the beginning..2012 very appropriate! Awesum.

Comment on [the death and resurrection show by shaunp

shaunp — Mon, 28 Mar 2011 01:21:31 +0000

I buy gold (what the f’in hell do you think has paid for this film!!)… i also buy your view on applying KJ tactic to the world in which we live with.I think the additional black jibe to the arses who have ripped us off.. The science of this is extremely absorbable too, with nature’s present and unfolding cleansing of the earth, two lines of energy opposite and negative string theory helix, energy points on a planetary grid or acupuncture nodes that the individual and more importantly group human energy frequencies can be whipped up and down into a frenzy with the use of low frequency towers (GWEN system). More importantly that an islamic historical prophecy that says that when the ‘second holy city’ or Cairo (the city of pyramids) falls the cycle’s speed is increased, and even more interesting is – in the occult sense, that you take from the number 156, which activates the ‘heat’ in the experiment that starts the cleansing means. Also Iceland was misunderstood.

Comment on [the death and resurrection show by shaunp

shaunp — Sun, 13 Feb 2011 01:12:48 +0000

Thanks. Am always contactable via here or direct on email.

Comment on [the death and resurrection show by shaunp

shaunp — Thu, 10 Feb 2011 06:34:30 +0000

It started with like minded people attracted to a project that was also a Band’s life philosophy,… this project just glows with resonating current – its huge. Jaz Coleman is an interesting and relentless inspirational artist.. you are expected to reach up high to your dreams and have a streak of tenacity to get you through the bad bits. The members of Killing Joke dead and alive, are all totally in control of each of their own destiny. I have been lucky enough to grab a part of it.

Comment on [the death and resurrection show by shaunp

shaunp — Tue, 01 Feb 2011 05:55:28 +0000

Please let me know if you have any specific questions about the content. Resonance and the science of energy and soul is huge. We posted a paper edit of the film over on the FB film page if anything there helps.

Comment on [the death and resurrection show by shaunp

shaunp — Tue, 01 Feb 2011 05:52:57 +0000

Thanks… the film will be ready this year.

Comment on [the death and resurrection show by shaunp

shaunp — Tue, 01 Feb 2011 05:52:13 +0000

… great to hear that this film has some kind of convergence with other artists.
Which part helped?

Comment on [hammersmith apollo 16.10.2010 by shaunp

shaunp — Wed, 20 Oct 2010 23:13:43 +0000

Honour the fire.

Comment on [hammersmith apollo 16.10.2010 by shaunp

shaunp — Mon, 18 Oct 2010 21:53:33 +0000

To this day, Killing Joke are still the only band to ever really scare me with a performance. Thirty years into their career, they remain a fierce, potent proposition, playing with an almost intimidating intensity to outstrip any of their peers and most of their punk/metal progeny.

Following the untimely death of bassist Paul Raven, they have come full circle with their line-up, reforming the original gang of renegades: bruiser drummer Big Paul Ferguson, Loki-like frontman Jaz Coleman ? by day a respected classical composer/arranger, by night a demonic shaman ? and, flanking him, the unflappable six-string alchemist Geordie and bassist/world renowned producer Youth. He’s the balding, grey-haired guy in the golf visor, by the way.

Together, they generated a piledriving force and inexorable momentum which was by turns thrilling and exhausting.

The majority of this set was plain brute force, with much of the subtlety of Geordie’s distinctive guitar sound lost in the totalitarian assault.

These guys could whip up a mob so easily with declamatory calls-to-arms such as Wardance and the monolithic majesty of Requiem, not to mention Coleman’s brief sermons on the economic apocalypse and other philosophical matters rarely addressed by a rock band.
But they could equally incite the none-too-sprightly audience to dance with the underlying funkiness of Love Like Blood and the pagan stomp of Eighties.

Long may they light fires and rage hard.