The devil hates Justin Broadrick, as there are few people who suffer less from idle hands. The moment Broadrick has an idea for new music, it seems there isn’t a thing that can get in his way. Hell, why not just start a band for every new idea? At one point in his career it almost looked that way. The man has more bands to his name than most seasoned bands have albums. Sure, many were short-lived and hardly worth mentioning, but the likes of Napalm Death, Godflesh, Final, and God, would not exist without Broadrick.
Tucked neatly among Broadrick’s impressive list of projects is Jesu, a band seamlessly formed out of the ashes of Godflesh, and Broadrick’s longest standing outfit. In other words, Jesu is Broadrick’s baby, a project whose concept was cut and dry, whose creator reeled at the helm, in full understanding of the project’s boundaries and limitations. Ultimately, Broadrick would cross those boundaries, but not without acknowledging he had done so, and starting a new project, Pale Sketcher, to further explore music that veered from the Jesu ideology.
Jesu’s brilliance lies in Broadrick succumbing to his desires to go pop without ever actually going pop. To Godflesh, and Napalm Death, Jesu is pop. In reality the band’s sound lies somewhere between shoegaze and post-rock with an ever present tinge of Broadrick’s industrial roots. Jesu has released a considerable number of EPs over their decade-and-change existence, and it is the opinion of this writer–whether or not Broadrick himself believes it–that Jesu is served best in smaller doses. Whether it’s the sameness of Broadrick’s guitar or the sameness of his voice, it’s a much harder affair sinking one’s teeth into a Jesu full length (there are of course exceptions. See: Conquerer). However, give the band four or five song slots to fill and they’ll give you much to love before wearing you out.
(Dry Run Recordings)
If there was a release that was the clear divide between Godflesh and Jesu, Heartache wasn’t it. Such a release doesn’t exist, exactly. Instead, Heartache, and the self-titled full-length of the same year, were like transition points, allowing Broadrick the space to shift focus from one band to another.
On the one hand, Heartache is stoic and at times even cold. On the other, it’s one of the most emotionally charged releases in Jesu’s lifespan. The instrumental arrangements are precise, avoiding the sameness trap that would plague much of the band’s later work. Especially noteworthy are the drums and Braodrick’s vocals, which would both never again be left as unencumbered by lush instrumental arrangements as they were here, given space to breathe, naturally rising and falling into and out of existence.
There are few Jesu songs that hit as hard as the title track on Silver. The song is a perfect distillation of the “Jesu” sound: cinematic, hooky, and equal parts heavy and dreamy. How the arc of the song is encapsulated in less than seven minutes and doesn’t feel rushed is baffling. Broadrick is wise in letting the instruments do most of the talking here, the vocals sunk low in the mix until the words “silver’s just another gold” cut through and repeat for the final minute. It’s one of the finer moments of Broadrick’s extensive catalog.
As is typical in Broadrick’s recipe for a well-rounded EP, the track in the second slot picks up the energy level. “Star” is propulsive, with drum tracks that hammer away like in the Godflesh days, but with enough pretty guitar at work to trump any “industrial” pigeonholing. The guitar tricks continue into the closing track, “Dead Eyes,” where more studio is heard than on any of the previous songs. It’s a glimpse into what would eventually become a more hypnotic, electronic driven direction for Jesu. But it’s only a glimpse. On Silver, we get a taste of Broadrick’s genius, where, amidst the spectrum of everything Jesu was and would ever be, the pendulum hung in the perfect place.
On the heels of Silver was Lifeline, a mere blip in a year that saw plenty of releases for Jesu, including two LPs. However, Lifeline is not to be overlooked, incorporating and expanding on much of the sound that shaped Silver. Later Jesu instrumentals had a tendency to sound rehashed, if not a little boring, but on Lifeline Broadrick was deep in his groove. Gone are the emotional peaks and valleys and hammering drums. In their place is a soup of drum machines and effect-laden guitars. The sound is murky but not sloppy.
The album’s pitfall lies in the third track, “Storm Comin’ On,” which would benefit a lot from the absence of Jarboe (ex-Swans vocalist). Her whisper-quiet verses work for the most part but her throaty delivery of the chorus is cringe inducing. The appropriately titled closer, “End of the Road” makes up for it. Bass-heavy drums break through the murk to start but are soon taken over by an ambient backdrop of looped synthesizer, pattering percussion and Broadrick’s intentionally half-present vocal delivery. For a good minute or two one might forget they weren’t listening to The American Analog Set.
Why Are We Not Perfect, 2008
Whether he was appealing to Eluvium fans (the band on the other side of the split album in which these songs originally appeared) or substituting jack and coke with tranquilizer and sleepy-time tea, Why Are We Not Perfect is Broadrick’s most syrupy delivery of the Jesu sound yet. Though some would argue Broadrick set himself up for failure on this one, I’d argue that he got to further explore a side of Jesu that was present from the very beginning. And what format is better than the less comital extended play in order to tap into that facet of the band’s sound?
Vocals have never been Jesu’s strong point, often placed unassumingly in the mix. On these arrangements, which, in Broadrick’s songwriting spectrum are basically lullabies, there is less present noise to hide the voice. The result comes across as more lacklustre than subtle, floating in an awkward middle ground somewhere between post-rock, slowcore and the rainy day electronic indie haze of the Postal Service.
Opiate Sun, 2009
(Caldo Verde/Aural Exploits)
What is it with Jesu consistently nailing the title track? “Opiate Sun,” though an obvious parting of nuance for the band, is what I wish all rock music would sound like. That and the opener, “Losing Streak,” are as unobfuscated as they come for Broadrick. And yes, this is Broadrick working alone here, amazingly. “Losing Streak” and “Opiate Sun” compliment each other perfectly, while “Deflated” would be the closest thing here to outright metal had Broadrick passed along lead vocal responsibilities. The EP is a welcome shedding of layers from Why Are We Not Perfect, reigning back a sound closer to that which defined Jesu’s lauded earlier work.