Jesus Jones Albums (5)
What The Critics Say
Four years since the unnoticed Already, Jesus Jones returned in fall 2001 with London. Stylistically, Jesus Jones delivers the same jaunty pop hooks that made them rock gods with "Real Real Real" and "Right Here, Right Now." Mike Edwards and his crew aren't necessarily concerned with making music for the masses, either. Songs such as "Message" and the catchy electronic twist of "Stranger" perfect Jesus Jones' signature acid house aesthetic over hearty guitar work. The artsy synth beats of "The Rocket Ships of La Jolla" showcase a space rock ambience, but it's the hazy aesthetic of "The A Team" that reflects Jesus Jones' desire for '70s glam rock appeal. A humorous and dazzling track reflecting on the '80s TV show, "The A Team" supersedes the band's fiery disposition on "Nowhere Slow." Perhaps that's their swan song? Nah, Jesus Jones has taken their sweet time in making new music. London is about them and the natural progression in perfecting the music they want to play out live. However, the loyalists who made them superstars nearly ten years prior to this release might have outgrown them. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Perverse attempts to expand on the success Jesus Jones enjoyed with Doubt, not only commercially but artistically as well. The group made some history; this is the first album to be recorded entirely through a computer. Musically, Perverse is a synthesis of techno/rave dance music with traditional pop/rock songs and structures; it's an ambitious album that works sporadically. Bandleader Mike Edwards lost sight of most of the pop-song sensibility that made "Right Here, Right Now" an across-the-boards smash. Too often, the hooks are submerged beneath layers of computerized noise and aren't strong enough to pull themselves out. When Perverse clicks, Jesus Jones gives the listener an idea of how enjoyable a successful marriage of techno and rock could be. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Jesus Jones' best album, Doubt, benefits greatly from Mike Edwards' improved songwriting, as well as a better idea of how to effectively fuse guitar-rock with samples and dance-club beats that hint at techno. There are slips in both areas -- a few songs float past without ever making an impression, and some of the fusions sound rather forced and arbitrary. But those moments are outweighed by the ample portions of the album that do work; the album's title is belied by the giddy optimism of the catchy number two hit, and best song here, "Right Here, Right Now," and other singles like "Real, Real, Real," "International Bright Young Thing," and the B-side "I'm Burning" are nearly as good. Easily the high point of the band's career. ~ Steve Huey, All Music Guide
What The Critics Say
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. ~ Ned Raggett, All Music Guide
