Artist......: Jesus Jones
Album.......: Liquidizer
Source......: CD
Label.......: Food
Genre.......: Rock
Tracks......: 12
Bitrate.....: 931 kbps avg
Playtime....: 00:39:29 (276.MB)
Rls date....: 2021-07-01
Store date..: 1989-10-02
Encoder.....: FLAC 1.3.1
Url.........: http://www.jesusjones.com/
01 Move Mountains 3:20
02 Never Enough 2:41
03 The Real World 3:03
04 All The Answers 3:48
05 What's Going On 3:04
06 Song 13 4:05
07 Info Freako 2:51
08 Bring It On Down 2:37
09 Too Much To Learn 3:02
10 What Would You Know? 3:55
11 One For The Money 2:56
12 Someone To Blame 4:07
It's a product of its time, and it wanted nothing more than to be seen as
such -- the credits list for the album names every last sample source,
ranging from Prince and Sonic Youth to Apocalypse Now and the news and
views of 1988 and 1989. But it's the breadth which makes Liquidizer a
thrilling experience, even if the end results are oddly enough
one-dimensional: instantly catchy power pop fed through industrial, techno,
and hip-hop approaches, topped off with Mike Edwards' confident bark.
However, it's better that than just another guitar pop album, and even if
Jesus Jones reflected trends rather than started any on their own, their
debut album was still a confident statement of purpose, demonstrating that
yes, there was such a thing as wide-ranging listening eclecticism. As such,
Liquidizer, like the late-'80s work of Jesus Jones' grubbier
brothers-in-arms, Pop Will Eat Itself, may not make anyone forget the two
groups' obvious joint inspiration, the Bomb Squad, but the principle was
still the same: eat the world, spit out the results at loud volume. "Never
Enough" was the overdriven semi-radio hit in America, but "Info Freako" is
the real kicker of the bunch, with a blasting chorus that would silence
most metal bands of the time and probably Edwards' best trademark "yeaaah!"
Elsewhere, heavily processed aggro-tech-funk that's kissing cousins with
the likes of World Domination Enterprises and Renegade Soundwave slams up
against bubble-salsa piano lines and Beach Boys backing harmonies, all
aimed at instant memorability and, clearly, pop success without apology.
Top it off with the aggressively friendly sarcasm of Edwards -- he has his
targets, however couched in metaphor, and doesn't spare them the edge of
his tongue -- and Liquidizer holds up better than might be expected.
Compared to most wretched American nu-metal bands a decade later, Jesus
Jones doesn't forget the sheer fun of hip-hop as well as the potential
rage.