Friday Full-Length: Jesu, Terminus

Posted in Bootleg Theater on November 20th, 2020 by JJ Koczan

By no means has  Looking to "http://para-sun.com/essay-on-peace-through-social-service/"? We can help you Online support 24 Native English Speakers Affordable Prices FREE Revisions Jesu been dormant, it’s just been seven years since the last time there was an album out. 2013’s  go to link Written by Experts. Seeking a quality service to buy college essays online from without the worries of plagiarism and the ability Every Day I Get Closer to the Light From Which I Came occurred even as project founder, spearhead and sometimes-sole-member  master thesis empirical part http://aemurtosa.edu.pt/engineering-thesis-writing-service/ academia essay writers scam google webmaster tools thesis theme Justin K. Broadrick had already begun to revive and push forward with his other band,  Abc Dissertation Training Need Analysis is the online assignment help and essay writing company of Australia, USA, UK, Canada etc. Get best assignment writing services from Godflesh. That wildly influential UK act would release a live album recorded at 9780854735037 0854735038 The Teaching of Reading in 45 Inner London Primary blog linker grade 1 Schools - A Critical Examination of OFSTED Roadburn playing the groundbreaking 1989 Round-the-clock Dissertation Editing Rate is at SameDayEssay.com. Order top-quality paper by our experts. Look at the samples to be assured of our professionalism Streetcleaner LP in its entirety, the 2014 Get http://www.franke-pahl.de/?thesis-degree-master in Texas for dissertation writing, data analysis, proposal writing and proofreading services via our expert dissertation writer. Decline and Fall EP (review here), and two full-lengths, 2014’s Welcome to Gujarati Essay Online! We are a Dublin based professional education development company which provides academic support to those undertaking A World Lit Only by Fire (review here) and 2017’s  write a great essay Oxford Admission Essay Help homework schools helpful best research proposal writing service Post-Self (review here), as well as sundry other short offerings/one-offs, in the intervening years. As term papers on gender service: timely help for a novice. Everybody knows writing services are popular, and its easy to guess why but it isnt necessarily a story of carefree students partying all the time instead of doing their homework. Godflesh ascended to priority, the two-piece also played numerous festivals around the world — they’d eventually do 1991’s Looking for this link of the highest quality? Would you like to buy coursework online but are worried about the quality you will get? You Pure in full as well — and thereby further cement their legacy with a new generation of fans.

But again, "I need a professional writer to Study Abroad Application Essay Help online," you thought and clicked this link to hire the best essay writer in Canada at Ca.EduBirdie.com! Jesu — also stylized all-lowercase:  http://kubsafety.ru/?limitations-section-of-a-research-paper - experienced writers, top-notch services, instant delivery and other advantages can be found in our academy writing jesu, and pronounced “yay-zoo” — weren’t entirely gone. There were collaborations with Welcome to get more. We understand Price is an issue but promise no compromise on the quality. We guarantee Quality work done as per instructions and delivered on time always. Our Guarantees. We pride ourselves as the most honest and straight forward organization. We keep our word always as we take it as our bond. Dirk Serries and Looking for affordable and reliable http://www.studenthelpclub.com/contoh-thesis-master-uitm/? See how we can help writing a thesis and what other services we offer! Pick the one you need and Sun Kill Moon in 2016 and 2017, and a redux collaboration based on the track “Christmas” with  Yang Li in 2018. An EP, Never, landed in July 2020, and the awaited full-length return of Jesu comes in the somewhat forebodingly titled Terminus, an eight-track/51-minute outing that speaks of endings and beginnings, delves into personal introspection, and ultimately finds its place emotionally and sonically drifting, floating away atop a gentle sea of heavy post-rock. Terminus brings its share of lumbering riffs in its opener “When I Was Small” and its title-track, “Sleeping In” and the later “Disintegrating Wings,” and a churning rhythm is nothing less than a sonic signature for Broadrick. But on a creative level, he’s no more held to that here than he is the barking shouts and harsh beats one might find on a Godflesh release. Jesu is simply and has (mostly) been since its 2004 Heart Ache EP and self-titled full-length a different incarnation of Broadrick‘s creative process — and it should be noted that neither is that process so delineated in terms of two manifestations. See also: JKFlesh, production and remixing work done under his own name, and various others through the years, FinalTechno Animal, and so on.

And given that is has been more than half a decade since the prior LP, Terminus‘ arrival comes with due welcome. Tracked mostly by Broadrick himself on guitar, synth, vocals andjesu terminus who-kn0ws-what-else with Ted Parsons on drums for “When I Was Small,” “Terminus” and “Don’t Wake Me Up,” its general atmosphere is familiar ground for Jesu in emotive explorations of past and present, lyrics looking to moments of regret, wistfulness and sometimes self-critique. At one point in “Alone,” Broadrick asks, “Am I your sight?/Or just a slight?,” even as “Disintegrating Wings” seems to make a more outward-looking assessment, “Lies are your truth/Truth is your lies,” that, as with any discussion of too-fragile objective veracity, is easy enough to place within the sphere of modern social discourse. Whether that’s Broadrick‘s intent or not, I don’t know — I’d be glad to ask; it’s been nearly a decade since I last interviewed him — as the lyrics are purposefully impressionistic in keeping with the vague outlines of the cover art and indeed the blurring between styles in the music itself, evoking the same questions the title-cut engages as to where an ending ends and a beginning begins. Maybe we’re not supposed to know, and indeed the album does close with the hypnotic instrumental “Give Up,” shoving off on a steadily fading beat that seems consumed by a wash of looped guitar and synthesized melody.

That sort of wandering course, a build up perhaps from an initial experiment or melody that pans out in a direction as it goes, is a crucial foundation for Jesu‘s work, and that holds even in “When I Was Small,” which is arguably the most straightforward of inclusions here. It’s all the more fitting, then, that the leadoff track comes immediately accompanied by “Alone,” the shortest piece at 4:19 and a near-immediate surge of melodicism and hook-making that in other hands would simply be summer-ready pop, but here has a metal-on-metal clang of a beat keeping time to Broadrick‘s dreamy vocals and winding synth. Lyrics toy with rhymes — “well, tell, hell” and “bright, light, sight, slight” in the two verses — and though clearly the song is intended to engage with pop and Britpop in particular, there is an element of twist in terms of aesthetic and it holds to the depth of mix that the opener established.

“Terminus” (9:30) and “Sleeping In” (8:39) feel paired for immersion. Once Terminus has gotten its throw-you-for-a-loop first 10 minutes out of the way in “When I Was Small” and “Alone,” it digs into its own atmospheric heart in the title-track, not departing entirely from the weight of “When I Was Small” or even the shimmer of “Alone,” but using both as elements in its own linear structure, capping with a gentle letting go and stretch of silence ahead of “Sleeping In,” which unfolds gradually, beautifully and with a patience that shifts smoothly into the cinematic post-rock of “Consciousness” with a masterful touch. That sets up the final stretch of Terminus in the relatively subdued, minimal-feeling-but-not-actually-minimal “Disintegrating Wings,” and the leaving-here last pair of “Don’t Wake Me Up” and “Give Up,” the former of which dedicates its second half to a brighter-sounding freedom, and the latter which is all the more ethereal for its lack of component verses even as it holds its beat for much of the duration.

Put together in a period between 2016 and this year, Jesu released Terminus last week. I didn’t know it was coming, but I bought it and wanted to write about it and somehow this seemed like the appropriate way to do that. I don’t know what if anything it foretells about a direction for Broadrick — if Terminus is his way of putting Godflesh to rest for the time being and shifting back toward Jesu as a primary outlet — or if that’s something that really could be known at this point, if it matters one way or the other.

What matters, of course, is the music. As always, I hope you enjoy that.

Thanks for reading.

Yesterday I was feeling in need of an outside reminder of why I do this. I was busy chasing down The Pecan, who for the last several weeks since it started to get colder and we haven’t been outside as much, has been furiously butting heads and increasingly rigid in his demands for things to be a certain way, and I saw some email or message whatever it was come in nagging about some low-stakes shit and I very nearly texted a friend and asked what the fuck I need this for in my life at this point. I didn’t, mind you, but the fact that I even came close to doing so is out of character for me.

I’m not fishing for compliments. I’m not. I get notes from people who say thanks for doing this and that means a tremendous amount. It was just kind of a rut week, watching COVID-19 case levels rise, putting the house back on lockdown as we have, kid not napping in the afternoon anymore, my fucking body, etc. On Wednesday I took a whole xanax and fell asleep watching Daniel Tiger on the couch with The Patient Mrs. and The Pecan before the latter went to bed. Actually got some decent snuggles. It was probably the highlight of my week. That and the Grayceon record, anyhow.

Did you listen to that fucking song? Why the fuck not?

I don’t know what’s going on today. I was gonna take The Pecan and do a pre-weekend grocery run to Shop-Rite, which is apparently the only store on the planet that has the right granola bars — Amy’s Organics Oatmeal Raisin, in the red box — but I don’t know about dealing with other humans, especially as it’ll be circa lunchtime when The Pecan’s bus drops him off, and that place fills up because of prepared foods, etc. There’s really no right answer at this point for leaving the house, except maybe 7 in the morning or 9 at night and I’m hopefully asleep by then.

Ah hell, kid just got up. I can hear him thumping around upstairs and he ran in his closet, which means dirty diaper coming soon into my future. Better punch out here.

Great and safe weekend. I’m gonna try and take a few minutes tomorrow to get my head together. We’ll see how it goes. Hydrate, wear a mask and all that. Much love.

FRM.

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audiObelisk Transmission 030

Posted in Podcasts on September 21st, 2013 by JJ Koczan

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

With no slowdown in the music coming out as we move into the fall, it’s time for another audiObelisk podcast. Like last month, the idea here was to keep it super-simple, not go too long or get lost too much in including stuff just for the hell of it. Whether it’s a big band or someone you’ve never heard of in this tracklist, it’s all quality, and most of it is new. A couple of these albums haven’t even come out yet.

Things get pretty dark in the second of the two hours, but I figured what the hell? It starts off rockin’ with Sasquatch and The Freeks and so on, so it seemed there was room to doom out for a while, and once I threw in The Body, there was nothing to do but plummet even further. As it winds down, there’s some transition back to more rocking fare though with Earthless, so it’s not like it gets totally lost and drowns in the mire of dark tones and sonic abrasion. I know you were worried. I was too.

Like last time, it clocks in at just under two hours long. I hope you download and enjoy the tracks. Here’s the full rundown of what’s included:

First Hour:

Sasquatch, “The Message” from IV (2013)
Monster Magnet, “Mindless Ones” from Last Patrol (2013)
The Freeks, “The Secret Pathway” from Full On (2013)
Red Fang, “Blood Like Cream” from Whales and Leeches (2013)
Pyramido, “Tiden är Kommen” from Saga (2013)
Hollow Leg, “Ride to Ruin” from Abysmal (2013)
YOB, “Ether” from Catharsis (2013 Reissue)
Seremonia, “Suuri Valkeus” from Ihminen (2013)
Aqua Nebula Oscillator, “Human Toad” from Spiritus Mundi (2013)
Jesu, “Everyday” from Everyday I Get Closer to the Light from Which I Came (2013)
Ayahuasca Dark Trip, “To the Holy Mountain” from Mind Journey (2013 Reissue)

Second Hour:

All Them Witches, “Born under a Bad Sign” (2013)
The Body, “Prayers Unanswered” from Christs, Redeemers (2013)
Primitive Man, “Antietam” from Scorn (2013)
Windhand, “Cassock” from Soma (2013)
Atlantis, “Omen” from Omens (2013)
Earthless, “Violence of the Red Sea” from From the Ages (2013)

Total running time: 1:59:33

Hope you dig it. Thanks for listening.

Download audiObelisk Transmission 030

 

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Jesu Interview: Justin Broadrick Confirms New Godflesh Studio Album, Discusses Jesu’s Latest, Imperfection, Self-Indulgence, Roadburn, And Much More

Posted in Features on May 6th, 2011 by JJ Koczan

Justin K. Broadrick was 19 years old when his band, Godflesh, released their ultra-seminal full-length, Streetcleaner, in 1989. Born and raised in Birmingham, England, he’d been a founding member of grind pioneers Napalm Death as they got their start, and left to pursue divergent musical interests — which, as anyone who’s ever sat and put Napalm Death and Godflesh side by side knows, he did. Streetcleaner was a new breed of extremity in music, something as emotionally weighted as it was inhumanly heavy, and though in their initial run, Godflesh would be lumped into various genres — industrial, metal, etc. — and would play into those designations at different points of their discography, the fact is that what might be their most pivotal and expressive work existed almost completely outside of classifiable genre in its day, and was all the more powerful for it.

Broadrick began Jesu (the band named for the final track on Godflesh‘s last album) with a limited issue of the Heart Ache EP via UK imprint Dry Run in 2004. Since then, he’s filled much the same role he played in Godflesh as the driving creative force behind the band’s output, overseeing massively well-received full-lengths like 2005’s Jesu and 2007’s Conqueror through Hydra Head while also unleashing a barrage of EPs and splits, among them the highlights Opiate Sun (2009) and 2007’s split with Battle of Mice. The latest Jesu offering follows a 2010 re-release of Heart Ache that coupled it with the previously unreleased Dethroned EP and is called, appropriately enough, Ascension.

Constructed with many of the same kinds of dense harmonic washes as Jesu‘s prior output, Ascension marks its progression in Broadrick‘s increased use of acoustic guitars and offsetting organic and synthesized elements from each other. As someone continually fascinated with pop music, he’s grown over time (and with much practice) into a formidable songwriter, able to keep an experimental feel to songs like “Broken Home” and “Small Wonder” while also playing off classic melodicism and structural foundations. Still, no matter how you choose to categorize his work — and it’s often that an artist will hear nothing in his or her own material beyond their influences — Jesu sounds like nothing else. The more Broadrick‘s creative development plays out over time, the more that remains true.

Having just borne witness to Godflesh‘s landmark Streetcleaner reunion set at Roadburn, it was a pleasure to (after screwing up international dialing for an embarrassing 437th time) ring up Broadrick and discuss some of the differences between Jesu and Godflesh, the self-indulgent nature of art, the possibility of a new Godflesh studio record, playing live with Jesu, how the imperfection is part of the charm, and more. It had been more than half a decade since I’d last interviewed him, but I found him this time to be just as open and honest as I remembered.

Complete 4,500-word Q&A and pics from Roadburn are after the jump. Please enjoy.

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