Name: Goat
Brand: The Jesus Lizard

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Remaster/Reissue

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2009-10-02

Format multiplier

Catalogue number

40109

UPC / Barcode

36172116829

40110

36172116812

Artist

The Jesus Lizard

Label EU

Genre EU

Indie Pop / Shoegaze

Touch & Go

The Jesus Lizard is an influential band that originated in Texas and later moved to Chicago. Formed by vocalist David Yow and bassist David Wm. Sims, both of whom were previously members of the Austin-based band Scratch Acid. After Scratch Acid disbanded, Yow and Sims joined forces with guitarist Duane Denison (Cargo Cult) to create The Jesus Lizard.

With their unique blend of punk, noise rock, and post-hardcore, The Jesus Lizard quickly gained a reputation for their intense live performances and raw energy. Their music is characterized by Yow's distinctive vocals, Sims' powerful basslines, Denison's intricate guitar work, and a relentless rhythm section.

Throughout their career, The Jesus Lizard released several critically acclaimed albums such as "Goat," "Liar," and "Down." They have influenced numerous bands with their aggressive sound and uncompromising attitude. Despite disbanding in 1999, The Jesus Lizard remains an important figure in alternative rock history.

Newest Listed Items

The Jesus Lizard's second album followed in the vein of the first with little immediate variation: loud, excellently produced by Steve Albini, plenty of space in the recording to emphasize the sheer force of McNeilly's drums and Sims' bass, and more besides. The little-remarked-upon ability of the rhythm section to kick out some ass-shaking jams spikes up such great numbers as "Nub," which almost predicts Rocket From the Crypt down to the gang-shout vocals, and the slower but no-less-compelling grind of "Rodeo in Joliet" (also one of the band's most inspired titles). Denison's guitar playing seemed a touch more focused at points here, the results almost suggesting such post-punk groove monsters as Gang of Four and even the Pop Group. There's a more evident melodic lead role for his work as well, as the just plain great riff that fires up "Mouth Breather" and his near-countryish twang on "Karpis" makes perfectly clear. Yow, meanwhile, steps ever more into his own persona, his lyrics now downright comprehensible and his singing levels a touch less doom- (and bass) heavy, if no less aggrieved. The staggered vocal overdubs on "Monkey Trick" are a standout, especially when Denison suddenly serves up another one of his surprisingly sweet passages as a bed. Other treats on the album include the opening "Here Comes Dudley" - in context one of the more non-welcoming greetings around - and the Morricone-tinged freakout of "Lady Shoes," assuming Morricone scored movies about doctors dealing with some freaky female patients. The whole album seems like a party in hell, not to mention demonstrative proof that there's still plenty of fun to be had with a basic rock lineup; it's all in the matter of how it's handled.

Goat

Music EU