#thejesuslizard — Public Fediverse posts

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

The Jesus Lizard:
🎵 Then Comes Dudley

#TheJesusLizard

https://thejesuslizard.bandcamp.com/track/then-comes-dudley

https://open.spotify.com/track/5vazlZCYJK4IxBO6Q9Oii3

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

The Jesus Lizard:
🎵 Then Comes Dudley

#TheJesusLizard

https://thejesuslizard.bandcamp.com/track/then-comes-dudley

https://open.spotify.com/track/5vazlZCYJK4IxBO6Q9Oii3

The Jesus Lizard - Peel Session 1991

The complete session recorded by The Jesus Lizard on 24 February 1991 for the John Peel show on BBC Radio 1 and broadcast on 17 March 1991.

Tracklist:

1. Wheelchair Epidemic (0:07)
2. Bloody Mary (2:21)
3. Seasick (4:20)
4. Monkey Trick (7:28)

https://vibracobra23.blogspot.com/2012/08/the-jesus-lizard-peel-session-1991.html

#TheJesusLizard #JesusLizard #PeelSessions #OTD

The Jesus Lizard - Peel Session 1991

The complete session recorded by The Jesus Lizard on 24 February 1991 for the John Peel show on BBC Radio 1 and broadcast on 17 March 1991.

Tracklist:

1. Wheelchair Epidemic (0:07)
2. Bloody Mary (2:21)
3. Seasick (4:20)
4. Monkey Trick (7:28)

https://vibracobra23.blogspot.com/2012/08/the-jesus-lizard-peel-session-1991.html

#TheJesusLizard #JesusLizard #PeelSessions #OTD

Always surprised when David Yow from #TheJesusLizard shows up in a movie I decided to watch randomly.

A Desert
Directed by Joshua Erkman
2025

#NeoNoir #Horror #Shudder #Movies

Always surprised when David Yow from #TheJesusLizard shows up in a movie I decided to watch randomly.

A Desert
Directed by Joshua Erkman
2025

#NeoNoir #Horror #Shudder #Movies

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Revoir 10 minutes du concert de The Jesus Lizard au Primavera Sound Porto, c'est possible ici : https://youtu.be/1hXVVaDF7Cw?si=_J5plYtNsSzvTIIp
#thejesuslizard #primaverasoundporto #livevideo #nowwatching

https://www.alojapan.com/1339032/the-jesus-lizard-scrap-australia-new-zealand-and-japan-tours-due-to-a-serious-health-incident/ The Jesus Lizard scrap Australia, New Zealand, and Japan tours due to a “serious health incident” #hardcore #JapanTours #Lambgoat #metal #news #TheJesusLizard #tours The Jesus Lizard have scrapped their planned fall 2025 tour due to a “serious health issue” impacting one of the members. The cancellation comes as the noise rock vets were riding momentum from their first album in 25 years, Rack, which dropped in late 2024. The band

Blessings – Blodsträngen Review | Angry Metal Guy

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of…
#NewsBeep #News #Music #2.5 #2025 #AU #Aug25 #Australia #BlackFlag #Blessings #Blodsträngen #Entertainment #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #post-punk #review #reviews #SwedishMetal #TheJesusLizard #Unsane
https://www.newsbeep.com/au/43329/

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

THE JESUS LIZARD
Flux
2025 U.S. RSD pressing
ETCHED

I’ve said this many times, and I’ll say it again.
THE most badass band EVER.

If I could pick one band in history to be in, it would be The Jesus Fucking Lizard.

This thing is only 3 songs, but is killer Lizard, as per their usual. Nice etched side as well.

#vinyl #vinylrecords #vinylcollection #art #music #vinylcommunity #retro #vintage #thejesuslizard #punk #artrock

THE JESUS LIZARD
Flux
2025 U.S. RSD pressing
ETCHED

I’ve said this many times, and I’ll say it again.
THE most badass band EVER.

If I could pick one band in history to be in, it would be The Jesus Fucking Lizard.

This thing is only 3 songs, but is killer Lizard, as per their usual. Nice etched side as well.

#vinyl #vinylrecords #vinylcollection #art #music #vinylcommunity #retro #vintage #thejesuslizard #punk #artrock

En décembre dernier, la tournée de The Jesus Lizard est passée par Birmingham (Alabama, USA). Une trentaine de minutes du concert est à voir ici : https://www.mowno.com/tv/
#thejesuslizard #livevideo #musicvideo #nowwatching

🇺🇦 #NowPlaying on #BBC6Music

The Jesus Lizard:
🎵 Hide & Seek

#TheJesusLizard

https://thejesuslizard.bandcamp.com/track/hide-seek

https://open.spotify.com/track/0lEV7NyokaZjOShjtlnWnJ

🇺🇦 #NowPlaying on #BBC6Music

The Jesus Lizard:
🎵 Hide & Seek

#TheJesusLizard

https://thejesuslizard.bandcamp.com/track/hide-seek

https://open.spotify.com/track/0lEV7NyokaZjOShjtlnWnJ

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

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 (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

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! 

– Defiance!

• Bandcamp: The Jesus Lizard – GOAT
• Discogs: The Jesus Lizard – GOAT

#1001OtherAlbums #1990s #JesusLizard #posthardcore #postpunk #rock #ScratchAcid #SteveAlbini #TheJesusLizard

Chat Pile – Cool World Review

By Cherd

Two years ago, I named Chat Pile’s debut full-length God’s Country my Album o’ the Year, at considerable risk to myself. You see, the senior partners at AMG and Sons, LLC have no love for the Pile or for the greasy noise rock/post-hardcore/sludge these Oklahoman’s produce. After submitting my year-end list, I endured all manner of verbal abuse, which would have been fine had it not been followed closely by physical abuse. A hulking ape branded a large “P” on my chest, after which a gang of masked n00bs beat me senseless. I like to think they were forced to do this, but a couple clearly enjoyed themselves. Then came the waterboarding. This wouldn’t have been so bad if they hadn’t played Alestorm on loop as I struggled for air. Finally, I spent a month in The Hole, and when I emerged again shaking and moist with sweat, they warned me against such folly in the future. Two years have passed, and Chat Pile’s sophomore release Cool World has arrived. Wounds I thought had healed ache as if new, and I fear exposing myself once again to the roving Eye of Sauron, but I just can’t deny my love for this band. Will I risk another month in The Hole for Cool World?

For the uninitiated, Chat Pile draw their sound from the darker, weirder corners of the 90s. Over their first EPs, it would be fair to say they were a mix of The Jesus Lizard and Deadguy with Korn riffs smattered on top. God’s Country saw them get heavier and angrier, with a sludgy heft adding to their sound and lyrics laser-focused on Middle American misery. Cool World is their heaviest work to date and continues to draw from 90s noise and post-hardcore. The first time I heard lead single “Masc,” I noted the influence of Helmet. Meanwhile, cuts like “The New World” channel Red Medicine era Fugazi. There’s a more uniform sound across the album than on previous outings, one that relies on sustained rhythmic grooves and repetition. If you’re familiar with God’s Country, it’s like they dedicated the better part of Cool World to what they were doing on “Slaughterhouse.” There’s also a subtle commitment to melody and despondent vocal harmonies that cut through the harshness on songs like “Shame” and “Milk of Human Kindness.”

Cool World’s focus on hypnotic, oily grooves combined with vocalist Raygun Busch’s shell-shocked talk-singing and raging shouts pays huge dividends if you like your noise metal gnarly and apoplectic. The best material comes in the form of two song couplets, the first being “Frownland”/”Funny Man,” and the second “The New World”/”Masc.” As “Frownland” demonstrates, the punch in these songs comes partly from scraping slabs of ugly bass courtesy of four-string slinger Stin and from a production job that gives Cap’n Ron’s drums plenty of low-end. Then there’s Busch’s reliably unhinged delivery of lines like “Big world, small change, outside there’s no mercy and not everyone can hide” from “Funny Man.” It’s the kind of delivery that lets you know there’s no mercy inside, either. “The New World” finds Chat Pile firing on all cylinders as Busch shrieks “Most are dragged kicking and screaming out into the new world.” It’s the ugliest, heaviest, and best song the band has ever written. By following this with the much more melodic but no less cynical “Masc,” Cool World gives us the best one-two punch you could ask for. Busch’s lyrics have moved from the micro to the macro of human suffering, and the shift to bigger rhythms and harder grooves supports this well.

This, however, means some of the idiosyncrasies that have served Chat Pile well over the years are missing. It’s all as bleak and off-kilter as ever, but there are no truly weird left-field detours here like the humorous “Rainbow Meat” or the starkly disturbing “Dallas Beltway” from the EPs or the humorous and starkly disturbing “grimace_smoking_weed.jpg” from God’s Country. The variety in Cool World comes mostly from the melodic tracks “Shame,” “Masc,” and the gloomy “Milk of Human Kindness.” There’s even a death metal vocals segment late in “Shame” that gets the blood pumping, but I miss the songs that make you go “What did I just listen to?” This could of course mean the band will widen their audience with Cool World, since a song like “Why?” proved divisive in the past. Cool World is a really good record, but for the first time, it sounds like a record some other band could have made.

I won’t be making Cool World my Album of the Year, but it’s certainly very good and I’ll probably play it to death in the next few months. It has the best two songs the band have written so far and finds Chat Pile maturing into a sound full of gnarly grooves. That said, a touch of the old overt weirdness and humor would go a long way on such a dark record. Is all this enough to save me from another month in The Hole? I don’t know, but if I disappear for a while, you’ll know why.1

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: The Flenser
Websites: chatpile.bandcamp.com | facebook.com/chatpileband
Releases Worldwide: October 11th, 2024

#2024 #35 #AlternativeMetal #AmericanMetal #AmericanRock #ChatPile #CoolWorld #Deadguy #Fugazi #Helmet #Korn #NoiseRock #Oct24 #Review #Reviews #Sludge #TheFlenser #TheJesusLizard

Chat Pile – Cool World Review

By Cherd

Two years ago, I named Chat Pile’s debut full-length God’s Country my Album o’ the Year, at considerable risk to myself. You see, the senior partners at AMG and Sons, LLC have no love for the Pile or for the greasy noise rock/post-hardcore/sludge these Oklahoman’s produce. After submitting my year-end list, I endured all manner of verbal abuse, which would have been fine had it not been followed closely by physical abuse. A hulking ape branded a large “P” on my chest, after which a gang of masked n00bs beat me senseless. I like to think they were forced to do this, but a couple clearly enjoyed themselves. Then came the waterboarding. This wouldn’t have been so bad if they hadn’t played Alestorm on loop as I struggled for air. Finally, I spent a month in The Hole, and when I emerged again shaking and moist with sweat, they warned me against such folly in the future. Two years have passed, and Chat Pile’s sophomore release Cool World has arrived. Wounds I thought had healed ache as if new, and I fear exposing myself once again to the roving Eye of Sauron, but I just can’t deny my love for this band. Will I risk another month in The Hole for Cool World?

For the uninitiated, Chat Pile draw their sound from the darker, weirder corners of the 90s. Over their first EPs, it would be fair to say they were a mix of The Jesus Lizard and Deadguy with Korn riffs smattered on top. God’s Country saw them get heavier and angrier, with a sludgy heft adding to their sound and lyrics laser-focused on Middle American misery. Cool World is their heaviest work to date and continues to draw from 90s noise and post-hardcore. The first time I heard lead single “Masc,” I noted the influence of Helmet. Meanwhile, cuts like “The New World” channel Red Medicine era Fugazi. There’s a more uniform sound across the album than on previous outings, one that relies on sustained rhythmic grooves and repetition. If you’re familiar with God’s Country, it’s like they dedicated the better part of Cool World to what they were doing on “Slaughterhouse.” There’s also a subtle commitment to melody and despondent vocal harmonies that cut through the harshness on songs like “Shame” and “Milk of Human Kindness.”

Cool World’s focus on hypnotic, oily grooves combined with vocalist Raygun Busch’s shell-shocked talk-singing and raging shouts pays huge dividends if you like your noise metal gnarly and apoplectic. The best material comes in the form of two song couplets, the first being “Frownland”/”Funny Man,” and the second “The New World”/”Masc.” As “Frownland” demonstrates, the punch in these songs comes partly from scraping slabs of ugly bass courtesy of four-string slinger Stin and from a production job that gives Cap’n Ron’s drums plenty of low-end. Then there’s Busch’s reliably unhinged delivery of lines like “Big world, small change, outside there’s no mercy and not everyone can hide” from “Funny Man.” It’s the kind of delivery that lets you know there’s no mercy inside, either. “The New World” finds Chat Pile firing on all cylinders as Busch shrieks “Most are dragged kicking and screaming out into the new world.” It’s the ugliest, heaviest, and best song the band has ever written. By following this with the much more melodic but no less cynical “Masc,” Cool World gives us the best one-two punch you could ask for. Busch’s lyrics have moved from the micro to the macro of human suffering, and the shift to bigger rhythms and harder grooves supports this well.

This, however, means some of the idiosyncrasies that have served Chat Pile well over the years are missing. It’s all as bleak and off-kilter as ever, but there are no truly weird left-field detours here like the humorous “Rainbow Meat” or the starkly disturbing “Dallas Beltway” from the EPs or the humorous and starkly disturbing “grimace_smoking_weed.jpg” from God’s Country. The variety in Cool World comes mostly from the melodic tracks “Shame,” “Masc,” and the gloomy “Milk of Human Kindness.” There’s even a death metal vocals segment late in “Shame” that gets the blood pumping, but I miss the songs that make you go “What did I just listen to?” This could of course mean the band will widen their audience with Cool World, since a song like “Why?” proved divisive in the past. Cool World is a really good record, but for the first time, it sounds like a record some other band could have made.

I won’t be making Cool World my Album of the Year, but it’s certainly very good and I’ll probably play it to death in the next few months. It has the best two songs the band have written so far and finds Chat Pile maturing into a sound full of gnarly grooves. That said, a touch of the old overt weirdness and humor would go a long way on such a dark record. Is all this enough to save me from another month in The Hole? I don’t know, but if I disappear for a while, you’ll know why.1

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: The Flenser
Websites: chatpile.bandcamp.com | facebook.com/chatpileband
Releases Worldwide: October 11th, 2024

#2024 #35 #AlternativeMetal #AmericanMetal #AmericanRock #ChatPile #CoolWorld #Deadguy #Fugazi #Helmet #Korn #NoiseRock #Oct24 #Review #Reviews #Sludge #TheFlenser #TheJesusLizard

Recensie: The Jesus Lizard – Rack ★★★★
https://writteninmusic.com/albumrecensie/the-jesus-lizard-rack/

#Music #Rock #TheJesusLizard #Ipecac #Bertus

Recorded #OnThisDay 32 years ago:

The Jesus Lizard - Peel Session 1992

The complete session recorded by The Jesus Lizard on 27 September 1992 for the John Peel show on BBC Radio 1 and broadcast on 30 October 1992.

Tracklist:

1. Gladiator (0:48)
2. Whirl (5:17)
3. Puss (11:53)
4. Boiler Maker (15:45)

https://www.youtube.com/watch?v=369RX-bNXiE

#TheJesusLizard #JesusLizard #PeelSessions #OTD

Recorded #OnThisDay 32 years ago:

The Jesus Lizard - Peel Session 1992

The complete session recorded by The Jesus Lizard on 27 September 1992 for the John Peel show on BBC Radio 1 and broadcast on 30 October 1992.

Tracklist:

1. Gladiator (0:48)
2. Whirl (5:17)
3. Puss (11:53)
4. Boiler Maker (15:45)

https://www.youtube.com/watch?v=369RX-bNXiE

#TheJesusLizard #JesusLizard #PeelSessions #OTD

MusikBlog präsentiert The Jesus Lizard
#AlternativeRock #News #PostHardcore #TheJesusLizard
https://www.musikblog.de/2024/09/musikblog-praesentiert-the-jesus-lizard/

The middle-aged boyz are back in town and they still rock like senile idiots.....great!
#TheJesusLizard – Rack cd on #IpecacRecordings 2024

http://thejesuslizard.bandcamp.com/album/rack

The middle-aged boyz are back in town and they still rock like senile idiots.....great!
#TheJesusLizard – Rack cd on #IpecacRecordings 2024

http://thejesuslizard.bandcamp.com/album/rack

The middle-aged boyz are back in town and they still rock like senile idiots.....great!
#TheJesusLizard – Rack cd on #IpecacRecordings 2024

http://thejesuslizard.bandcamp.com/album/rack

The Jesus Lizard - Rack
#Album #AlternativeRock #NoiseRock #PostHardcore #TheJesusLizard
https://www.musikblog.de/2024/09/the-jesus-lizard-rack/

Rack par The Jesus Lizard
https://album.link/fr/i/1740597261
#NowPlaying #Musique #TheJesusLizard

#TheMetalDogArticleList
#Loudwire
The New Rock + Metal Albums Out Today
Your 2024 hard rock and metal album release calendar, including the new albums out

https://loudwire.com/2024-hard-rock-metal-album-release-calendar/

#Oceano #Crobot #TheDamned #FlotsamAndJetsam #Gwar #TheJesusLizard #Satan #Winterfylleth

#TheMetalDogArticleList
#Loudwire
The New Rock + Metal Albums Out Today
Your 2024 hard rock and metal album release calendar, including the new albums out

https://loudwire.com/2024-hard-rock-metal-album-release-calendar/

#Oceano #Crobot #TheDamned #FlotsamAndJetsam #Gwar #TheJesusLizard #Satan #Winterfylleth

#TheMetalDogArticleList
#Loudwire
The New Rock + Metal Albums Out Today
Your 2024 hard rock and metal album release calendar, including the new albums out

https://loudwire.com/2024-hard-rock-metal-album-release-calendar/

#Oceano #Crobot #TheDamned #FlotsamAndJetsam #Gwar #TheJesusLizard #Satan #Winterfylleth

#TheMetalDogArticleList
#Loudwire
The New Rock + Metal Albums Out Today
Your 2024 hard rock and metal album release calendar, including the new albums out

https://loudwire.com/2024-hard-rock-metal-album-release-calendar/

#Oceano #Crobot #TheDamned #FlotsamAndJetsam #Gwar #TheJesusLizard #Satan #Winterfylleth

#TheMetalDogArticleList
#Loudwire
The New Rock + Metal Albums Out Today
Your 2024 hard rock and metal album release calendar, including the new albums out

https://loudwire.com/2024-hard-rock-metal-album-release-calendar/

#Oceano #Crobot #TheDamned #FlotsamAndJetsam #Gwar #TheJesusLizard #Satan #Winterfylleth

A Guide to #TheJesusLizard on #Bandcamp
https://daily.bandcamp.com/lists/jesus-lizard-albums-list

A Guide to #TheJesusLizard on #Bandcamp
https://daily.bandcamp.com/lists/jesus-lizard-albums-list

“Music? Horrible.” The Jesus Lizard's David Yow’s Favourite Records

https://thequietus.com/interviews/bakers-dozen/music-horrible-david-yows-favourite-records/

#music #TheJesusLizard #DavidYow

“Music? Horrible.” The Jesus Lizard's David Yow’s Favourite Records

https://thequietus.com/interviews/bakers-dozen/music-horrible-david-yows-favourite-records/

#music #TheJesusLizard #DavidYow