Album Review : JeezJesus "Somewhere Between Love & Misery"
For the
very first time on Lelahel Metal, we dive into the dark, minimalist, and deeply
personal world of JeezJesus, the electronic alter-ego of London-based artist
Joe McIntosh. Somewhere Between Love & Misery marks a significant
step in his evolution — an album that consolidates the post-punk, darkwave,
industrial, and synthpop foundations he has been shaping since 2022, while
revealing a new emotional depth rooted in social critique, vulnerability, and
reflection. The production is deliberately minimal, but it fits the style
perfectly, reinforcing the album’s raw and authentic character.
The opening
track, “Abandon Everything,” immediately sets the tone with a bleak, foreboding
soundscape built from repurposed fragments of older material. It acts as a
gateway into the album’s psychological terrain — a descent into tension,
anxiety, and atmospheric darkness.
“I See
You,” one of the strongest tracks here, unleashes a sharp electro-punk assault
driven by political urgency. With its militant rhythmic pulse and abrasive
synth lines, the track stands as a rallying cry for those who feel unseen in a
fractured society. It’s easily one of the album’s most powerful moments.
“Like to
Like You” shifts into cold synthpop, echoing the metallic textures of Gary
Numan. Minimal yet impactful, the track explores the psychological damage of
social media — comparison, low self-esteem, digital manipulation — capturing
the numbing repetition of scrolling culture.
“Control”
embraces industrial darkwave, clearly inspired by early Nine Inch Nails. Its
grinding synths and cyclical rhythms reflect the internal battle against
depression and anger. The minimal production works as a narrative device,
mirroring the mental loops and emotional volatility at the heart of the song.
“Cost of
the Lost” introduces heavier guitars, briefly touching metal territory to
deliver a critique of global conflict. Combining industrial electronics with
forceful guitar work, the track portrays a world collapsing under violence,
polarization, and generational trauma.
“Don’t
Wanna Be Here” dives fully into darkwave, one of the purest examples of the
genre on the album. The cold, hollow synths and steady rhythm reflect feelings
of alienation, social exhaustion, and disillusionment with vapid social spaces.
The
abrasive “Pressures of Life (Killing Me)” stands as the album’s most intense
moment, stepping boldly into EBM. Pounding kicks and grinding sequences
translate the suffocating pressure of modern working life — intentionally
harsh, intentionally overwhelming.
The album’s
second half begins to brighten. “We Could Be Friends” leans into nostalgic 80s
synthpop, with warm pads and a melodic, upbeat quality that contrasts the
darker opening half. “Burnt Out” adds quirky new wave energy, while “It’s Doing
My Head In” continues the synthpop direction with minimal, emotionally charged
elegance.
“Work to
Die” brings back the electro-punk attitude in a tongue-in-cheek critique of
economic struggle and inequality — one of the album’s most memorable refrains.
The tension rises again with “I’m So Stressed,” before the finale “I Want a
Pony” closes things in chaotic, playful experimentation.
Somewhere
Between Love & Misery is a cohesive and expressive work despite — or because of — its
eclectic range. The minimalist production serves the atmosphere perfectly,
enhancing JeezJesus’ raw emotional honesty. It’s an ambitious release, one of
the strongest in his catalogue, and a fascinating addition for our readers at
Lelahel Metal.
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