#NowPlaying The Jesus Lizard, Liar (Touch and Go, 1992). Probably my favorite TJL album, and I think the most critically acclaimed as well, an absolute burner from start to finish. I have tickets to see the band in SF tomorrow night and am pretty excited about it.
#TheJesusLizard
🇺🇦 #NowPlaying on #BBC6Music
The Jesus Lizard:
🎵 Hide & Seek
Labyrinthine Heirs – Labyrinthine Heirs Review
By Tyme
Eclectic Texan quartet Labyrinthine Heirs is ready to float their self-titled debut album, partnered with I, Voidhanger Records, which has one of the most diverse rosters in the metalverse. All four musicians come from different musical walks of life, and given the label partner, I expected that the music on Labyrinthine Heirs would be off-kilter at a minimum. With Léon François Comerre’s excellent cover painting in view but very little to go on by way of Labyrinthine Heirs‘ history, I was intrigued by the promo blurb, which quoted vocalist Evan Sadler as saying, ‘The plan was to marry the sound of Touch and Go Records artists like The Jesus Lizard and Shellac with that of Celtic Frost and Virus.’ I was a big fan of Goat in the 90s and love Celtic Frost to this day, so I was excited to hear how Labyrinthine Heirs would attempt to pull this feat off.
Apropos and in keeping with I, Voidhanger tradition, the Labyrinthine Heirs‘ sound, an alternative mix of blackish death metal, presents a descriptive sticky wicket. Comparisons with The Jesus Lizard are valid here, and a fair amount of Written in Waters era Ved Buens Ende is at play.1 Samuel Kang’s (Cathexis) guitar work is distinctly crisp, full of plucky riffs (“Brick Refusers Quartered”), cascading shimmers of dissonance, and circusy leads (“The Loop of Human Flesh Told in Perpetuity”). In lock-step accompaniment is the slap-happy bass work of Bryan Camphire (ex Bloody Panda) and the understated drumming of Anthony Brownlow, all three creating a hypnotizing flow over which vocalist Evan Sadler can drape his raspy, spoken-word delivery. Labyrinthine Heirs certainly sounds impressive, but one of the problems with hypnosis is that the subject eventually falls asleep.
Colin Marston’s master of Labyrinthine Heirs is warm and inviting, highlighting the interplay between the guitars and rhythm section while providing enough wide, organic spaces to hear every separate instrument on its own and simultaneously. Like how a dog can smell each ingredient in that stew on your stovetop individually while still smelling the whole thing. The opening track, “Brick Refusers Quartered,” with the guitar and bass playfully splashing in puddles of dissonance, pulls you immediately into Labyrinthine Heirs‘ web and ushers you through the next thirty-seven minutes. Sadler strays from his go-to mono-rasp to bring some ear-catching dynamism in the form of screeching screams, vomits, chokes, and coughs (“The Loop of Human Flesh Told in Perpetuity,” “The Conceited Determination of Nimrod”) and this reminds me of the vocals from some of Nattefrost‘s nastier solo work at times. I was also thankful for these moments since they were some of the few to rouse me from my slumberous hypnosis.
Labyrinthine Heirs packs a fair number of ideas into Labyrinthine Heirs‘ five tracks.2 The biggest problem is that nearly every idea sounds the same. In its entirety, Labyrinthine Heirs never strays from the sonic palette introduced on the opening track. Nearly every time I arrived at the fifth and final song, “Yaldabaoth Gored to Blindness,” I was surprised to discover that almost 30 minutes of music had passed with nary a blip on my radar of interest to show for it, which brings us to the crux of my problem with Labyrinthine Heirs debut, and that is its overwhelming sense of similitude. All five songs suffer from reciprocating guitar techniques that, combined with the steady slap n’ tap bass, reserved drums, and raspily spoken lyrics, shroud the whole in a drone-like pall.
My relationship with I, Voidhanger, Records, is like a series of coin flips. There always seems to be a fifty-fifty chance I’ll enjoy what I hear or be equally content to let it pass. I’ve found many gems (Creature, Neptunian Maximalism, Yhdarl), to name a few, but I’ve discovered stinkers that balance the equation for each one. Labyrinthine Heirs may be deserving of their I, Voidhanger, roster spot. However, I don’t find this debut engaging enough to keep my attention, so I can’t fully recommend it. There are flashes on Labyrinthine Heirs that will have me on the lookout for its follow-up, but I prefer to pass on this.
Rating: 2.5/5.0
DR: 10 | Format Reviewed: 320kbps mp3
Label: I, Voidhanger Records | Facebook
Website: Bandcamp
Releases Worldwide: March 28th, 2025
#25 #2025 #AlternativeMetal #AmericanMetal #BlackMetal #DeathMetal #IVoidhangerRecords #LabyrinthineHeirs #Mar2025 #Review #TheJesusLizard #VedBuensEnde
Not sure if I’ve ever mentioned this on here before, but in spirit of my last post of #TheJesusLizard CLUB, I’ll mention it here for fans of them.
When I saw them at The Venus De Milo in 1994 in Boston, I was 17 years old.
To this day, it’s still my favorite show I ever attended. My mind (& body) were blown to pieces.
About 6 or 7 years ago, I was on YouTube & found THE WHOLE SHOW! You actually see a young Vinyl Ape a few times!
Please enjoy.
#1990s #90s #music
https://m.youtube.com/watch?v=9cT5UlUFQ98&pp=ygUWSmVzdXMgbGl6YXJkIGZ1bGwgc2hvdw%3D%3D
the Jesus Lizard Announce Additional U.S. Tour Dates
“翌25年には目出たく来日公演が決まったことを記念し、アルバム・リリース時に” / “ザ・ジーザス・リザード インタビュー｜鈴木喜之” (2 users) https://note.com/hardlistening/n/ne04ea47a5729 #thejesuslizard
The Jesus Lizard (noise rock / US) continue de sortir des inédits de sa besace. 'I'm Tired of Being Your Mother', dernier en date, s'écoute ici : https://youtu.be/JJxbwvX7cdY?si=Do3l5wtqwc_Twlq1
📸 Joshua Black Wilkins
#thejesuslizard #newsingle #nowplaying #nowlistening
I'm Tired Of Being Your Mother par The Jesus Lizard
https://song.link/fr/i/1766519774
#NowPlaying #Musique #TheJesusLizard
“Ipecac Recordings” / “the Jesus Lizard "I'm Tired of Being Your Mother"” (1 user) https://www.youtube.com/watch?v=JJxbwvX7cdY
#thejesuslizard かっこえー #マストドン音楽好き部 #fedibird
Negative 13 – Recover What You Can Review
By Dolphin Whisperer
What is a second life but a life that has just gone on long enough to find multiple waves of success? Artists at all levels that we cover here at Angry Metal Guy HQ, often, deliver their albums to the world for the love of the game—not the glitz or glory. Negative 13, as a collective of friends, reignited their passion for the game to release 2022’s long-awaited Mourning Asteri, a satisfying sludge platter full of punky energy and melancholy. And this time, only three years later, Recover What You Can arrives in a timely and timelessly snarling manner, ready to show again how friends who suffer together come out all the stronger.
It’s uncanny how textbook sludge Negative 13 hits without sounding too similar to any one big name through Recover. In many ways, their older origins play some part in this differentiation, with the inspiration from their sound reaching back equally to proto-acts like riff-churned Into the Pandemonium-era Celtic Frost1 or early post-punky Swans as it does to NOLA groove flagbearers like Eyehategod. As such, as is necessary in well-weighted doom and sludge endeavors, Negative 13 lives on the edge of amp-carved charges, finding life in a breadth of volume-driven and pedal-kissed tones. Without an abused guitar, a cranked amp, and a strained throat, Recover What You Can would not exist.
Though Negative 13 has chosen to keep Recover’s run lean, they’ve not forgotten to imbue every intro, verse, chorus, and space in between with the drag and hustle of furious riffage. An unfettered, surfy twang tramples through “The Vulture Circles” to kick off a punk-sneered ripper. A crushed and gated scrawl filters and folds into monstrous chords that back a creaky, impassioned bellow (“Horizon Divides”). And borrowing tactics from a faded The Jesus Lizard playbook, Negative 13 twists the longest cuts here with hissing feedback, near panic-level stabs, and frothing mouth mic abuse to bring heavyweight builds to emotional conclusions. It’s that tie to the heart that allows familiar marches and lockstep sways to resonate beyond the impact of loudness. Fervent cries to “pick yourself up and dust off your bones” (“The Vulture Circles”) and plaintive confessions that “I’ve been here before but it never plays out the same way” carry an earnest pathos that sews buzzing refrains to time-worn sleeves.
Recover suffers a strange fate at the hands of trim desires in that certain endings and transitions feel to be lacking that same tether that the songs hold within themselves. From the introductory “The Desolate” to quick burst “Casket Trail,” it’s not immediately apparent that the remainder of the album will skip along in a more disconnected manner as those two tracks function like a classic stage-hook blast. But starting with “The Vulture Circles” through to Recover’s close, we’re treated to an inconveniencing array of rapid-dissolve fade outs and awkward clips. An album closing with a hard stop can still have impact, but the kind of fuzzy cut that caps off the titular conclusion feels less like a swelling halt and more like turning a corner right into a wall. After repeated spins these kinds of minor stumbles settle into a strange, if learned, flow, reducing total grief. But I do wonder whether one additional shorter form jam could have pushed Recover across an even more satisfying line.
In its current state, however, Recover What You Can boasts a strong sludge performance that wields steadfast riff construction and heartfelt lyric expulsion in grooving balance. Born of a time after the genre’s inception and revived in a world far removed from its heyday, Negative 13 has remained an act discovered by happenstance—the deep (very deep) dive of a Neurosis-awakened neophyte, the Pittsburgh local who has known about them since day one, or you, dear reader, who may have seen their last output covered in these halls. Whatever the case—a curious mind of unstudied or well-read discovery—those who know of Negative 13 and long for an efficient and affective blend of doom power and punk fury will once again reap the rewards of patient and intentional output. Recover What You Can is unlikely to pull in the non-believers. To them we simply ask to listen and enjoy what you can.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Self Release
Websites: negative13.bandcamp.com | facebook.com/negativethirteen
Releases Worldwide: January 24th, 2025
#2025 #35 #AmericanMetal #CelticFrost #DoomMetal #Eyehategod #Hardcore #Jan25 #Negative13 #Review #Reviews #Sludge #SludgeMetal #Swans #TheJesusLizard
I am now listening to Westside by The Jesus Lizard #TheJesusLizard
https://www.last.fm/music/The+Jesus+Lizard/_/Westside
The Jesus Lizard release new standalone single today: Westside
Listen here: https://www.youtube.com/watch?v=6xbQ0mkJ8Kg&ab_channel=IpecacRecordings
the Jesus Lizard Release New Digital Single “Westside”
““’Westside’ goes along with the previous single,” / “the Jesus Lizard "Westside"” (1 user) https://www.youtube.com/watch?v=6xbQ0mkJ8Kg #thejesuslizard
The Jesus Lizard – GOAT (1991, US)
[This guest post was written by @Defiance about number 429 on The List. The album was submitted by platenworm.]
Another Steve Albini-produced classic. And perhaps the best album by this American noise rock/post-hardcore band. It’s fitting that the album title is also an acronym for Greatest Of All Time.
I was already a fan of Scratch Acid, the predecessor band. My best friend turned me onto them in high school.
So when I was in college and just starting to DJ, I was eager to play their new stuff. I can still remember getting the band’s first 7” in the station’s “new bin”, 1989’s “Chrome b/w 7 or 8”. The following year the band released their first LP, 1990’s Head. I liked that album and played it regularly.
I wasn’t sure what to expect with this one, their second full length album. But GOAT is a step up in every way.
The bass grooves are unlike their prior albums. They’re more…groovy! Probably why this is my favorite album from the band. It’s more accessible, but still raw and driven by David Yow’s intense and almost indecipherable yelling. The Jesus Lizard was one of the first bands of this era and genre that increasingly focused on dynamic hooks, and GOAT really delivers in this regard.
The album opens with “Then Comes Dudley”, which features the classic Jesus Lizard / Scratch Acid sound. Dark, loud, and relentless. The crunchy snare drum and driving bass guitar have that distinct Albini sound.
The pace really picks up with track 2, my favorite, “Mouth Breather”, and then hits a new peak with the slide guitar driven song “Nub”. The rest of the tracks are a mix of dynamic tempos and dark, sometimes droning noise and rhythms over which singer David Yow wails and moans. It’s almost as if The Birthday Party had released another album in 1991.
An interesting side note is that the picture on the album cover can be easily misinterpreted. At first glance, it looks like an orange flame on black background. I thought this the case for years. But it’s actually a topless woman with a close-up image of nails projected onto her body.
By the way, The Jesus Lizard still makes good music to this day. Earlier this year (2024), they released another great album, Rack.
Play GOAT at high volume!
#1001OtherAlbums #1990s #JesusLizard #posthardcore #postpunk #rock #ScratchAcid #SteveAlbini #TheJesusLizard
Dopo il nuovo disco, ora i Jesus Lizard pubblicano un nuovo singolino (che in effetti sta bene da solo, non c'entra molto con quello che c'è nell'album)
Cost of Living: https://youtu.be/7Z49uumNlX4
https://www.impattosonoro.it/2024/11/14/news/the-jesus-lizard-il-nuovo-singolo-cost-of-living/
the Jesus Lizard Release Non-Album, Digital Single: “Cost of Living”
The Jesus Lizard - Rack (Full Album) 2024 - YouTube
https://www.youtube.com/watch?v=-KSRCXIcg2c “ Radiorock TheOriginal” #thejesuslizard #YouTube
Alexis Feels Sick e anche io non mi sento tanto bene
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