LIZZARD

On ‘Mesh’, the band’s fifth full length album, LIZZARD capture the energetic, lightning-in-a-bottle optimism of the late ‘90s post-punk/art-rock scene and reinvigorate it as something empowering, inspiring and simmering with potential. ‘Mesh’ is some of LIZZARD’s most introspective work to date; asking questions of who and what we truly are behind the veil, underneath the mesh of appearances we all use to protect, but more often mask, our emotions and desires. Recorded by the band in the abandoned factory they use as their creative base and produced again by now long-time friend and collaborator Peter Junge (Avatar, The Melvins…), ‘Mesh’ is LIZZARD unleashing the raw, spontaneous might of their pent up live sound through the production precision of their studio experience. As such, themes of duality and control, whether it’s regaining it or letting it go, run right through the album. Resounding with Elwell’s inimitable, thundering drums and a barrage of colossal riffs, ‘Black Sheep’ explores the dichotomy of body and mind, of black and white, that we all wrestle with on a daily basis whilst the mellow polyrhythms and plaintive melodies of ‘Mad Hatters’ ask pressing questions of the people who are supposedly in charge of society. Epic album closer ‘The Beholder’ captures the reinvigorated LIZZARD at their bracing best; bittersweet guitar refrains are bolstered by Will Knox’s signature driving basslines and crashing half-time grooves as frontman Ricou considers the great cycle of life from his own perspective. Testament to the band’s formidable compositional prowess, ‘The Beholder’ ends as it starts, a closed loop. With only Ricou’s playful, pithy refrain of “What goes around, comes around” left ringing in our ears, LIZZARD masterfully frame ‘Mesh’ as both a poignant conclusion to the last chapter and as a bright new beginning.