Jesus Jones C/D?

That said I remember liking JJ a lot better than EMF or PWEI at the time (I even went out and bought Perverse, and liked it) (I was also fourteen)

I just wanted to point out that "nonetheless" makes no sense in this paragraph. Carry on discussion, this thread just proves to me that we've officially run out of bands.

Maybe I should've posted that on the "Brag About Bands No One Else Cares About" thread...

You all (except Ally) gush over Lou Reed and John Lydon but balk at Jesus Jones guy?

er...have you lost yr mind?!

''You all (except Ally) gush over Lou Reed and John Lydon but balk at Jesus Jones guy?''

Lydon made his last great record in 79/80, Lou reed in '75 (MMM). so there's a reason.

???

Is the reason that they're old?

The reason: both made great records and were good vocalists (hehe).

It's exactly as good as I remember, i.e. great intro and then it turns into the usual sub-Charlatans plod.

But they still reform regularly to play their One Actual (American) Hit at corporate functions!

wasn't a hit i see either. could have sworn it was.

rancidrancidrancid33 (1 month ago)
why is there no energy like this in todays indie scene?. Watching this makes you realise how dull its become.

"Real Real Real" and "Welcome Back Victoria" are pretty good too actually.

A contextual remembrance, courtesy of yours truly.

listening to Liquidizer for the first time in... 20 years? it's kind of scary how music from a particular time in your life can imprint on you

saw them live a few weeks back.
bloody good fun.

iTunes added Perverse not long ago.

I just listened to Carter USM's 30 Something with a huge grin on my face and even I'm not going anywhere near Perverse

i'm the other way around.

cant listen to carter these days (then again, i couldn't at their peak), whereas jj i still enjoy ..

I got off the JJ train when Perverse first came out; I'm very wary of revisiting that album

i really like it.

(though could do with a bit of bass amongst the top end excess)

it fits in well with the whole pwei and neds discovering ministry/nin groove ...

you know there was a time before britpop took over that a select few bands in the uk took the usa styled guitar heavy industrial thing, (as opposed to the true industrial noise a la ptv, coil, cabs), and ran with it.

pwei, emf vs foetus, jesus jones, curve, neds, senser ...

no doubt i have missed some ..

reminders most welcome

(silverfish ? never heard their foetus produced material)

i am going to enjoy the xc-nn album tonight ...

it's bloody good.

https://www.youtube.com/watch?v=KpRxStKJbFE

I went and listened to Info Freako and it's not better than I remember, it's quite horrible but also have to say for 1989 not un-prescient in its depiction of 'information' addiction.

"info freako" was always a painful tinnitus inducing 3 mins, but i took it as part of the songs individual appeal.
actually, the whole 'liquidizer' album has an insane level of top end on it.
i always suspected it was down to the bands lack of experience/knowledge/drugs, or, it was an artistic choice.
no idea if the remastered editions revises this aspect.

I remember at the time Mike Edwards was mentioning Big Black as an influence (I'm guessing the title Liquidiser was a hat-tip to Atomiser?) so maybe some of the squealing sonic assault was due to a few too many listens to Kerosene etc?

so many folks spelling the debut as 'Liquidiser'
was it different in the US, as my UK copy is definitely 'Liquidizer' ?
and yeah, good call, as Big Black were another top end heavy noise band ... never made the connection before, but makes sense actually.

This is apparently the keyboard player Iain Baker who Ned mentions above wearing a Big Black t-shirt:

https://www.picuki.com/media/771861530817785988

Spellcheck innit. Not sure my phone will even allow me to type Liquidiser - nope, it changed it for me!

haha ..fair point.

i'm a big jj fan generally - and it isn't just a west wilts thing (my godfather went to school with them et al) - but i just want to comment their fourth album already is generally pretty great. not that that's news to me. and none of this is likely to convince sceptics (after all mike still has the voice of mike). but the singles (plus honorary single 'they're out there' - surprised they went for 'chemical #1' over it actually - and a few other songs) project a certain well-produced brightness - power pop meets techno squelch - that feels right at home for '97, and also not much like their earlier work. more delineated (i.e. less of the faint reverb of old) in sound. and i'm sure if they had been a new band and the money/media was there to support them these songs could have been big, sorta somewhere between republica, the sfa songs with funny noises and britpop.

actually, the feeling's comeback hit from 2008, 'i thought it was over', sounds just like this stuff. i'm aware that wouldn't be a glowing endorsement to everyone, but i guess it shows the style they were locking into had legs.

the 'techno squelch' on the album in question also presents a kinda pyrrhic victory for them? there was some of that back on perverse ('zeroes and ones', 'spiral') and that was years before, but by 1997 a specific oversaturated 303 sound was everywhere. the track which really goes full on rumbling menacing acid techno is 'motion', a bit like 'spiral' on the album before it but with an actual beat (and a bloody fast one at that, almost digital hardcore speed). actually parts of the song really remind me of bloc party's 'flux'.

'february' is the obligatory gothic mood piece and maybe it could do without mike on it but i like the mid-90s thriller soundtrack sounds.

for those who were in Philadelphia around the late 80s into the mid-90s, WDRE used to play JJ all the time, and I sometimes take to putting on a WDRE playlist on the work Spotify. “Right Here Right Now” and “Real Real Real” work as jock jams for sure— I work at a gym— but outside of that context, I can imagine them being infuriating

Do you feel real?!?

I feel mighty real