I didn’t think we would ever see another Jesus Lizard record. Not because they broke up in some fantastic and dramatic way; after Capitol dropped them from the label, after not knowing what to really do with the band after signing them at the time when every band that sniffed “alternative” or “grunge” was scooped up by majors, they called it quits (record label exec: “…but they did a split with Nirvana!!!”).
There were a couple of successful reunion tours but I could not fathom a new record, plus singer David Yow really didn’t want to record new material, and he seems like a guy who would stand pretty firm with his decisions. To me, the band said all they were going to album-wise, and all of said material is just different levels of wonderful, from the 1989 Pure EP to their last record, the criminally underrated Blue. Thank goodness I was wrong, because 26 years later we get Rack, the seventh Jesus Lizard record, with all of the key players back together and sounding just amazing.
There is nothing old or stale sounding about Rack. This record is alive and vibrant, and dare I say, in some parts, catchy as hell, especially for the Jesus Lizard. Look, they didn’t make a pop record, but there are a couple songs on here that will stick in your head all day. The opener and first single, Hide & Seek, would have been a hit in 1995. The guitar work by Duane Denison is just excellent and Mr. Yow sounds energized and in top form, especially for a guy who didn’t want to do a new record for so long.
There is nothing old or stale sounding about Rack. This record is alive and vibrant, and dare I say, in some parts, catchy as hell, especially for the Jesus Lizard. Look, they didn’t make a pop record, but there are a couple songs on here that will stick in your head all day. The opener and first single, Hide & Seek, would have been a hit in 1995. The guitar work by Duane Denison is just excellent and Mr. Yow sounds energized and in top form, especially for a guy who didn’t want to do a new record for so long.
In classic JL fashion, let’s take that momentum with the single and slow it down to a doomy pace and challenge the listener next with Armistice Day, lead by the rhythm section of David Wm. Sims on bass and Mac McNeilly on drums, and highlighted by the one-of-a-kind vocals of Yow, this song creates the perfect JL total album vibe as it transitions to the rocker, Grind, which will be a live classic, especially given Denison’s work here. Jesus Lizard and Steve Albini will always be connected, with Albini always knowing how to make this band sound perfect. The last couple records didn’t quite get there production wise without him, but Paul Allen has created what is the best sounding Jesus Lizard record since those Albini albums, with What If? being a perfect example.
The drums and bass shine on Lord Gadiva, especially Sims whose bass is turned all the way up here and leads the way. If there was a trademarked JL song on Rack it would be Alexis Feels Sick, and it is wonderful. Tracks like Is That Your Hand, Falling Down, Moto(R) and Dunning Kruger are full of the band’s sweat, as you can feel the Jesus Lizard energy returning to full force three minutes at a time listening to these songs. I love that the band closed with the weirdest song on Rack, Swan The Dog, reminding you that JL is never afraid to challenge the listener and really do whatever they want.
I saw an interview where David Wm. Sims basically said the band is did a new record because they all thought it would be fun. What better reason for a new Jesus Lizard album than that? You can hear it too, as the band sounds like they were all in and for the right reasons, as Rack stands up to the storied history of the legend that is The Jesus Lizard. 9/10
Flotsam And Jetsam - I Am The Weapon (AFM Records) [Rich Piva]
Is there a more criminally underrated 80s thrash band than Flotsam and Jetsam? Maybe Death Angel? One of the main differences between the two, career-wise at least (a musical comparison would make for a great podcast discussion) is volume. F&S continue to make quality music into the 2020s, up to album number fifteen with their new one, I Am The Weapon, and two records since 2020, while DA has been less prolific, with their last album coming in 2019 and nine records total. Now this could lean to the positive either way, depending on the quality of that work, but one thing is for sure; late era Flotsam and Jetsam has been anywhere from good to great, with I Am The Weapon falling into the ladder category. This record rips it up, nonstop, for 48 minutes.
For a band more known for their former bassist who left to join some other metal band or who’s most played video was their Elton John cover on Headbangers Ball, they certainly do have some serious classic records, such as No Place For Disgrace and When The Storm Comes Down, but their total body of work over the 15 records is very strong, including the three records over the last five years, with I Am The Weapon being the best of them. The album sounds great, rips from end to end, the musicianship of this incarnation of the band is excellent, especially the drumming of Ken Mary, and Eric "A.K." Knutson’s vocals sound great, especially for a guy who has been belting it out since the early 80s.
I saw an interview where David Wm. Sims basically said the band is did a new record because they all thought it would be fun. What better reason for a new Jesus Lizard album than that? You can hear it too, as the band sounds like they were all in and for the right reasons, as Rack stands up to the storied history of the legend that is The Jesus Lizard. 9/10
Flotsam And Jetsam - I Am The Weapon (AFM Records) [Rich Piva]
Is there a more criminally underrated 80s thrash band than Flotsam and Jetsam? Maybe Death Angel? One of the main differences between the two, career-wise at least (a musical comparison would make for a great podcast discussion) is volume. F&S continue to make quality music into the 2020s, up to album number fifteen with their new one, I Am The Weapon, and two records since 2020, while DA has been less prolific, with their last album coming in 2019 and nine records total. Now this could lean to the positive either way, depending on the quality of that work, but one thing is for sure; late era Flotsam and Jetsam has been anywhere from good to great, with I Am The Weapon falling into the ladder category. This record rips it up, nonstop, for 48 minutes.
For a band more known for their former bassist who left to join some other metal band or who’s most played video was their Elton John cover on Headbangers Ball, they certainly do have some serious classic records, such as No Place For Disgrace and When The Storm Comes Down, but their total body of work over the 15 records is very strong, including the three records over the last five years, with I Am The Weapon being the best of them. The album sounds great, rips from end to end, the musicianship of this incarnation of the band is excellent, especially the drumming of Ken Mary, and Eric "A.K." Knutson’s vocals sound great, especially for a guy who has been belting it out since the early 80s.
Kings Of The Underworld, Primal, and the title track just kick ass, with the title track forcing me to look up who that drummer was to make sure he was a human and not a machine. I mention Kings Of The Underworld, that and the other of the last three tracks on I Am The Weapon flat out rule, as Running Through Fire none stop punches you in the face (“certificate of evil on your shelf” …love that line) and Black Wings that has an epic feel to it, leveraging what I think are some synths, and closes the record perfectly. You can’t go wrong with any of the tracks on here, as the opener, A New Kind Of Hero, sets the table and expectations perfectly, and The Head Of The Snake poisons you as well.
Flotsam And Jetsam deserve more credit and love, especially given how killer their material has been over the last five years and this late into their career. I Am The Weapon is an excellent modern thrash record and should be up there with other bands who have records this good this late in their career, like Overkill for example, or really any thrash band out there today. Another excellent record from a band who has no business still being this good. 9/10
Typhonian - The Gate Of The Veiled Beyond (Transcending Obscurity Records) [Mark Young]
Celestial Salvation, quiet, muted piano driven introduction that is basically a wasted 44 seconds. Luckily, they come in and bring a little brutality with Cosmic Throne. There is a subtle orchestration deployed, along with a noticeable discord in the opening moments between the drums and the rest of the band. It’s something and nothing but it is there, it feels as though it is intended as the pattern is repeated following a melodic section that is straight out of the Slayer songbook. Moving the opening instrumental to one side, Cosmic Throne is quite a strong track. They don’t linger with one pattern for too long, and there are some guttural vocals courtesy of M.W. Styrum and a decent lead break (can’t credit which player) amongst some solid rhythm. It is after this opening salvo that they change gears and hit us with Primal Deceptive Light.
Primal Deceptive Light is a banger. Starting with a Swedish 90’s style melodeath riff, they quickly stamp their own identity on proceedings with some quality riff work. The opposing rhythms, of taking that Swedish attack and combining it with a touch of the OSDM is just what you want to hear. Again, there is a quality lead with a cheeky arrangement underneath it, powering along at a decent lick. The upward curve is maintained with Crimson Rivers, a trem-picked blast of death metal goodness. It is a quick run and gun and is possibly the simplest in execution but works because of it is so straightforward.
Flotsam And Jetsam deserve more credit and love, especially given how killer their material has been over the last five years and this late into their career. I Am The Weapon is an excellent modern thrash record and should be up there with other bands who have records this good this late in their career, like Overkill for example, or really any thrash band out there today. Another excellent record from a band who has no business still being this good. 9/10
Typhonian - The Gate Of The Veiled Beyond (Transcending Obscurity Records) [Mark Young]
Celestial Salvation, quiet, muted piano driven introduction that is basically a wasted 44 seconds. Luckily, they come in and bring a little brutality with Cosmic Throne. There is a subtle orchestration deployed, along with a noticeable discord in the opening moments between the drums and the rest of the band. It’s something and nothing but it is there, it feels as though it is intended as the pattern is repeated following a melodic section that is straight out of the Slayer songbook. Moving the opening instrumental to one side, Cosmic Throne is quite a strong track. They don’t linger with one pattern for too long, and there are some guttural vocals courtesy of M.W. Styrum and a decent lead break (can’t credit which player) amongst some solid rhythm. It is after this opening salvo that they change gears and hit us with Primal Deceptive Light.
Primal Deceptive Light is a banger. Starting with a Swedish 90’s style melodeath riff, they quickly stamp their own identity on proceedings with some quality riff work. The opposing rhythms, of taking that Swedish attack and combining it with a touch of the OSDM is just what you want to hear. Again, there is a quality lead with a cheeky arrangement underneath it, powering along at a decent lick. The upward curve is maintained with Crimson Rivers, a trem-picked blast of death metal goodness. It is a quick run and gun and is possibly the simplest in execution but works because of it is so straightforward.
On The Gatekeeper they successfully mix in more of those blackened touches following an atmospheric start and here we see them really stretching themselves. This is 7 minutes of class death metal, where they take what they deem to be the most important parts of different genres and then make a silk purse out of it. The balance in the slow and fast measures, the combination of the black and death metal tropes all arranged to a fantastic effect. It doesn’t feel like a 7-minute song either, there are no moments of lag, and it is a definite high point. Towards The Chamber Of The Omnipresent Mind mines the melodeath genre as a starting point and as elsewhere they take and expand it to suit their own perspective.
There are moments where it reminds me of ATG which I suppose is unavoidable but what they do is embrace and expand it rather than trying to rehash. I must say that there is nothing wrong with it but sandwiched between The Gatekeeper and A Glimpse At The Starless Ocean, their personality seems to be more visible on those. A Glimpse... brings the blackened motifs back into the fold as it develops, a lolloping swing complete with some quality lead breaks, especially the one that closes out the song is a perfect example of how to do it, bringing the right amount of emotion and technical wizardry to it.
The final track is Cath’un – The Gate Of The Veiled Beyond. An epic-sounding start and we are off, with a mesmeric closing piece that takes all of what they have delivered, wrapped up into one package that brings all of their influences together. It is tied with The Gatekeeper for best song, both representing a high watermark, but I think this has the edge. It has that otherworldly feel to it, a cosmic approach that they embrace whilst still bringing the heavy metal. It is a heady brew of what we love about extreme music and considering that this is their 3rd release it is nothing short of remarkable. Cath’un takes us on a journey that lasts nearly 20 minutes and is a wonder that they can create something like this that doesn’t repeat any ideas they have delivered before this point. It is an ambitious and fantastic end to a cracking album.
What is apparent is that they have really come through with making good on their comments of adding and refining what they believe death metal should sound like in the modern era. I think we can agree that there is a subconscious ticklist we use when listening to any new music. It doesn’t sound like other bands who offer a modern take on extreme metal. What I mean is that it doesn’t have a sound that immediately dates it. I hope that they can continue to release music of this quality and you should make every effort to get hold of this. 9/10
Mordkaul - Feed The Machine (Massacre Records) [Mark Young]
Belgium death metal? Don’t mind if I do! The 2nd full-length release, according to the accompanying PR sees them taking onboard further influences from some of the OSDM masters as well as the ‘Swedish’ sound of the 90’s. It also appears that the album itself was recorded in two stages (unless I’m reading it wrong) but doesn’t feel as though there is any kind of split in attack or execution.
Crown Of Worms, now this is comforting. A 90’s guitar tone and some riff building that could be favourably compared to At The Gates. Its straight in with no messing or extended introductions as they drop a call back to earlier times when melodic death metal was new. Its all here, urgent guitar, furious drums and in terms of its execution it is to a high standard but it’s nothing new. In Dead Eyes with its super thick riff, almost prehistoric in attack and there is absolutely nothing wrong with that. Using their influences well, they split from ATG worship to bring in some OSDM breaks and a quality solo and then we are back in ATG land, which I had hoped they would move beyond.
The final track is Cath’un – The Gate Of The Veiled Beyond. An epic-sounding start and we are off, with a mesmeric closing piece that takes all of what they have delivered, wrapped up into one package that brings all of their influences together. It is tied with The Gatekeeper for best song, both representing a high watermark, but I think this has the edge. It has that otherworldly feel to it, a cosmic approach that they embrace whilst still bringing the heavy metal. It is a heady brew of what we love about extreme music and considering that this is their 3rd release it is nothing short of remarkable. Cath’un takes us on a journey that lasts nearly 20 minutes and is a wonder that they can create something like this that doesn’t repeat any ideas they have delivered before this point. It is an ambitious and fantastic end to a cracking album.
What is apparent is that they have really come through with making good on their comments of adding and refining what they believe death metal should sound like in the modern era. I think we can agree that there is a subconscious ticklist we use when listening to any new music. It doesn’t sound like other bands who offer a modern take on extreme metal. What I mean is that it doesn’t have a sound that immediately dates it. I hope that they can continue to release music of this quality and you should make every effort to get hold of this. 9/10
Mordkaul - Feed The Machine (Massacre Records) [Mark Young]
Belgium death metal? Don’t mind if I do! The 2nd full-length release, according to the accompanying PR sees them taking onboard further influences from some of the OSDM masters as well as the ‘Swedish’ sound of the 90’s. It also appears that the album itself was recorded in two stages (unless I’m reading it wrong) but doesn’t feel as though there is any kind of split in attack or execution.
Crown Of Worms, now this is comforting. A 90’s guitar tone and some riff building that could be favourably compared to At The Gates. Its straight in with no messing or extended introductions as they drop a call back to earlier times when melodic death metal was new. Its all here, urgent guitar, furious drums and in terms of its execution it is to a high standard but it’s nothing new. In Dead Eyes with its super thick riff, almost prehistoric in attack and there is absolutely nothing wrong with that. Using their influences well, they split from ATG worship to bring in some OSDM breaks and a quality solo and then we are back in ATG land, which I had hoped they would move beyond.
Welcome To The Sixth Stage Of Grief, n the early opening moments, this feels more representative of their own identity, but as it progresses, we fall back into that Swedish sound and arrangement. There are signs of them trying to escape it, but they are continually pulled back. As we progress, I believe that the remainder of the album will be in the same vein unless they do something dramatic. And to an extent they do on For I Am Machine, there are moments where Morbid Angel comes through. This one has more of that old school flavour to it and suddenly it is game on. There is some crushing riffs on here, mixed in with the right amount of blast-beats and this is more like it, less of the hero worship and more of their own identity.
Beast Of Dread starts well, but still within that narrow focus of Swedish death metal. It doesn’t matter how well it sounds, or if the song is a good song (which it is) it is just annoying me that with the talent they have which is there for all to hear they just seem trapped. There are melodic touches that remind you of Death, towards the latter stages of their recorded output but they need that to be front and centre, not closing the album out. Dead Heart Awake is more of the ATG worship. The main riffs are straight from Slaughter Of The Soul, and a built to a high level, its good stuff in that its fast, its heavy and sounds well but I wanted to hear more of Mordkaul’s own identity that you know is in there. It is frustrating because you think, well is it going to be the more of the same as they move through the remaining tracks?
Well, not quite.
They change it up on They Burn, with a more pulled back attack that still has elements of that sound to it but instead of the high speed they bring in some chunk within the riffs and there is a storming closing section which is just royal, and you wonder why they haven’t brought this in before? However, Shadowlord sees them return to their area of comfort, and there is not a lot to say at this point other than there is a guest solo by James Mcllroy (ex-Cradle of Filth) who lights it up but other than that it’s more of the perfunctory Swedish style melodeath. Hellspawn is a decent mid-paced stomper, complete with an incendiary lead which is scorching but doesn’t offer anything new on here. Passage To Oblivion – is the last track on what is a decent album, there is no denying that. It is also an instrumental. Again, it is a suitable closing piece, with piano by Maarten Vandenberghe as it gently wraps.
One thing you cannot say is that it is a boring album. It isn’t, as I’ve said it has everything you want in melodic death metal, unfortunately, it suffers from being too in debt to their influences. I’m all for taking the best cues from the bands you love but put your own stamp on it. For me this is a love letter to the Swedish sound of the 90s which doesn’t show me what Mordkaul are all about. I wanted more of the promised Morbid Angel / Death influence in there, which appeared in fits and starts. It feels that they have let that love of the Swedish sound cover their own identity, and whilst what they have recorded is done well it only became exciting once they started to push themselves and their vision to the front. Devotees 6/10
Well, not quite.
They change it up on They Burn, with a more pulled back attack that still has elements of that sound to it but instead of the high speed they bring in some chunk within the riffs and there is a storming closing section which is just royal, and you wonder why they haven’t brought this in before? However, Shadowlord sees them return to their area of comfort, and there is not a lot to say at this point other than there is a guest solo by James Mcllroy (ex-Cradle of Filth) who lights it up but other than that it’s more of the perfunctory Swedish style melodeath. Hellspawn is a decent mid-paced stomper, complete with an incendiary lead which is scorching but doesn’t offer anything new on here. Passage To Oblivion – is the last track on what is a decent album, there is no denying that. It is also an instrumental. Again, it is a suitable closing piece, with piano by Maarten Vandenberghe as it gently wraps.
One thing you cannot say is that it is a boring album. It isn’t, as I’ve said it has everything you want in melodic death metal, unfortunately, it suffers from being too in debt to their influences. I’m all for taking the best cues from the bands you love but put your own stamp on it. For me this is a love letter to the Swedish sound of the 90s which doesn’t show me what Mordkaul are all about. I wanted more of the promised Morbid Angel / Death influence in there, which appeared in fits and starts. It feels that they have let that love of the Swedish sound cover their own identity, and whilst what they have recorded is done well it only became exciting once they started to push themselves and their vision to the front. Devotees 6/10
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