Review: LizZard ‘Mesh’
Pelagic Records have a mission statement to release twenty albums a year of high-quality post-rock from artists they like and share an ethos with. This means that over a calendar year you can guarantee that following them grants exposure to a variety of artists that might not have crossed my desk… which brings us nicely to the French-based prog-rock power trio LizZard who are set to unleash album number five.
For those also late to the party, the band first came to life in 2006 with the international cast of Katy Elwell (UK/drums), Mat Ricou (FR/guitar and vocals) and Will Knox (UK/bass) connecting on a musical level that saw them set out to craft a multi-faceted contemporary rock that would hit on an emotional level as well as deliver some killer riffs along the way.
Over the course of the proceeding four albums, they have seen their stock rise significantly and can boast collaborations with Rhys Fulber (Fear Factory/Front Line Assembly) who produced their self-produced mini-album Venus in 2007. They also garnered support slots opening for the future Olympic ceremony opening band Gojira and following the release of their 2012 full debut, Out Of Reach, set them on a path to international recognition.
Capitalising on this momentum, the band would work with Peter Junge, tour Europe with High On Fire and iconic fusion drummer Terry Bozzio, make it across the pond and meet more heroes such as ORK (King Crimson/Porcupine Tree) and The Pineapple Thief as they expanded their audience and sound.
Like the rest of the world, their plans, including touring and promotion for their fourth album, 2021’s Eroded, were torpedoed by the pandemic. The lasting effect of not being able to truly share their music led to some creative ideas such as using the global lockdown as an opportunity to reinterpret the album as an intimate, short film recorded live in isolation without any audience. This experience has had a profound and influential effect on their latest release Mesh.
Recorded by the band in the abandoned factory they call their creative base, they once again recruited the skills of friend and collaborator Peter Junge to capture their pent-up frustrations which are immediate as opener Unity explodes out of the speakers. Built around a stabbing riff and smashing drums, LizZard are full of energy as the woozy riff batters the listener with its chunky barrage. When Ricou lets fly with his voice, the range is immediately impressive. From the liquid smoothness of the verses over stripped-down, but dexterous guitaring cycling beats and urgent percussion to the moment he lets fly with the soaring chorus. It is instantly immediate and fresh with an almost (post) pop punk swagger.
Not resting, the band shift into the light alt-rock of New Page with bright, ringing guitar notes and subtle bass tones adding a deliciously technical subplot, as the dynamic and fast, but laidback indie-like sway, is as carefree as a summer’s day. Far from straightforward, the track grows in power to the robust hook that has edges of metal, but the band have the restraint to pull back and let the momentum breathe, not playing their hand too heavily.
an intimate connection and ability to craft exceptional and emotionally charged music…
Elevate begins slowly on swirling synth and gentle teasing notes before the deep bass throb of Knox forms the base for a light shimmering introspective. An almost melancholic number that works from simple verses with delicately picked melodies working with the vocals to a stronger, fuller chorus before the band pull back and once again make it light and airy. Ricou’s vocals are impassioned and easily one of the many highlights on this album making use of his impressive range and soulful delivery.
Immediately switching gears, Black Sheep is darker and heavier. Moody drum patterns and rumbling bass clash with a neo-classic rock lead run and the vocals dance from more determined to falsetto as the tension in the track ramps up. Featuring a hard edge and full metal breakdown, LizZard never settle into one groove for too long, stretching their sound and showing that they are not afraid to throw down and rock out.
Home Seek returns to the more delicate side for light musical relief, with the searching lyrics against the changing poly rhythms revealing more about the character’s restless desire for fulfilment, which is furthered by Mad Hatters similarly paced, pensive number which picks up the tempo and volume but never shakes that air of uncertainty.
Before the instrumental interlude of the title track, The Unseen wrestles with a dichotomy of styles, at times more full-throated, it also retains a tenderness balanced by the majestic sweep of the chorus that feels celebratory after the mental burden of the pairing that came before.
The quiet and vulnerable Minim is organic and simple in comparison to some of the compositions that Mesh has given the listener. Built around Ricou’s delivery in tandem with electronica and faltering guitar, it allows the lyrics and the fantastic vocals to take centre stage before seamlessly morphing into the final entry.
Saving the best for last, The Beholder has become one of my favourite tracks of the year as the upbeat, triumphant feeling number never rivals the full-on heavy assault on the senses that LizZard have sometimes delivered, instead, they opt for a slow-burning epic that incorporates moments of robust catchy riffs, but never detracts from the beautiful harmonies they are capable of. Ricou delivers what is hands down some of the finest vocal moments on the album as his soulful delivery seals off this rollercoaster of a journey.
Truthfully, I didn’t expect to like Mesh as much as I did, on first listen there was a lot to admire, but on repeat plays LizZard show that they are an incredibly talented set of musicians who share an intimate connection and ability to craft exceptional and emotionally charged music that has a broad appeal to anyone who likes well-crafted music.
Label: Pelagic Records
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Scribed by: Mark Hunt-Bryden