The Jesus Lizard
Shot

"Shot" was released in 1996 by Capitol label, marking a significant turning point for Yow and company with the departure from Touch & Go, and especially from their mentor Albini. These were the years of mainstream Grunge, and after years of rigorous and extreme "Underground" militancy, the group understandably wanted to reap some commercial benefits, and distribution by a major could help. Those expecting a softening of their sound, in any case, should simply forget about it.

Assimilating a strong Stoner and Heavy Metal flavor, "Shot" is in some ways heavier than many previous works. The rhythm section is more prominent, devastating as usual (especially Sims' bass, never ceasing to hammer from top to bottom), with Denison's guitar equally extraordinary, but no longer the queen, and good David Yow unfortunately a bit overshadowed, following the trend of "Down", even striving to sing (something he has never really done, being the most barbaric and brutal rock singer, one who has always expressed through delirium, tuning mismatches, murderous shrieks etc.).

Slight hints of the album's mood appear with the opening "Thumper", with the stuttering guitar flow, granite rhythm, Yow rambling and lamenting, in a somewhat Middle Eastern climate. "Blue Shot", makes it clear that it is Sims who commands the sound of the album; a whirlwind and heroin-laden bass loop, the guitar acts rather as an enhancer. Yow here is clearly uncomfortable, the song would have improved in quality had it been left instrumental. The spectacular stoner-metal of "Thumbscrews", in its most frantic moments, offers a psychotic and appreciable vocal, but it's rather an acrobatic show of the instruments. The band is at its technical peak and makes no effort to hide it, risking creating a new form (brrrr… ) of Progressive-post-core. Fortunately, the distorted desert blues of "Good Riddance" cools down the spirits a bit, injecting a right dose of psychedelia and a vaguely horror tone. "Mailman" dangerously veers close to Faith No More, certainly the least original track of the bunch, although, honestly, their least valid song is at least a cut above the so-called "masterpieces" of 90% of bands, at least in terms of quality and craftsmanship.

The next "Skull of a German" manages to find a memorable chorus, with a southern aftertaste, featuring a central part devoted to Sims' technicality and a very timid solo by Denison. Yow, unfortunately, is again the weak link in the track. He will redeem himself in "Trephination", one of the album's peaks, where we finally return to the atmosphere of early Jesus Lizard; the vibe is one of imminent assassination, in full "Head\Pure" style. The few words croaked by Yow over the phone are nonetheless an extraordinary performance, and only here does he demonstrate his theatrical genius. The initial guitar arpeggio bodes ill, but soon Sims' hammering casts everything into a sick crescendo, masterfully supported by Denison. The track sporadically opens up, but it is only the classic breath of air before the drowning.

First masterpiece: "More Beautiful Than Barbie", follows the album's style but with a striking power and flair. The explosive bass creates a heavy-metal barrage, with Yow following the music rather than going his own way as we all would like, but he appears as a madman struggling to appear sane. Not content with the initial blasts, the band manages in the track's middle section to deliver an even heavier blow, with Denison's extraordinary riff. The bluesy breath of air (in its own way) of "Too Bad About The Fire" introduces another breakdown like "Churl", pure technical and nerve spectacle, where every part operates individually but still converges on MacNeilly's extreme drumming. It's from here that all the pent-up anger and power come to light: the cannon shot of "Now Then" is essentially a Heavy Metal stripped of any affectation, maintaining force and breakneck pace. The guitar, the bass, the drums, the vocals, everything is Jesus Lizard, but with a brutality that leaves one speechless. The swan song of the album and probably the quartet's career, which, apart from a very few songs on the subdued "Blue", will never reach such ferocity again, the ferocity and primitivity that are the foundation of their sound.

The coyote howl of "Inamorata" and the epilogue "Pervertedly Slow" are, in fact, the only tracks on the album featuring vocals as the protagonist, representing almost a silent cut compared to the aforementioned wave crashes.

"Shot" has never been much loved as an album, having effectively abandoned the anti-commercial ethics of "Touch n' Go" and Steve Albini, but in my opinion, it remains a pivotal album, a work that embraces new sounds. What it loses in spontaneity, "Shot" gains in compactness, and it remains an essential step for fans of the Chicago group.