During one of the many breakups of Killing Joke, key members of the band joined with industrial vocalist Chris Connelly to kick out the crunchy jams. For the most part, Murder Inc. sounds like Killing Joke on a bad day, with little thought given toward melody or playing more than a couple of the same chords repeatedly. The problem certainly isn’t with Chris Connelly’s aggressive vocals; the part-time member of Ministry and Revolting Cocks brings exactly the right swagger to the collaboration. He varies his approach and tone from snarling anger to decadent crooning. The Killing Joke boys, on the other hand, seem content to play the same Killing Joke riffs and chords repeatedly. Murder Inc. is a hit and miss affair. Other than the amazing album opener “Murder Inc.,” where the music matches Connelly’s efforts and energy, the other players rip off their own Extremities, Dirt & Various Repressed Emotions sound a few too many times. When they relax a bit and stop trying to repeat past glories they achieve their best sonic stew. Connelly’s vocal style is such that the standard Killing Joke murkiness mires many of his efforts to bring emotion to the songs. Only when his bandmates allow him room to breathe, as on “Supergrass,” “Hole in the Wall,” “Uninvited Guest,” “Motion Sickness,” “Last of the Biomechanical Urgents,” and the title song, do the dynamics make for a thrilling beast. This is ultimately a rather pale imitation of Killing Joke, and it’s not up to par with Chris Connelly’s amazing solo albums, but it’s an interesting experiment that works here and there. – Tim DiGravina