The Dial-Up Decade #5: The Jesus Lizard, Goat

BY DREW DRAIN

Released in 1991, Goat is The Jesus Lizard’s second studio album and remains one of the most visceral and uncompromising records in the annals of noise rock. Following their 1990 debut Head, Goat saw the band refining their chaotic, abrasive sound while retaining the primal energy that defined their early work. With its tightly coiled rhythms, unrelenting aggression, and dissonant grooves, Goat is a feral masterpiece that captures the volatile essence of a band operating at the peak of their creativity.

The Jesus Lizard was part of a broader wave of late-‘80s and early-‘90s bands—like Big Black, Shellac, and Fugazi—who blended punk’s raw intensity with experimental tendencies. Goat elevates noise rock to a kind of brutalist art form. Unlike many contemporaries who leaned on distortion and feedback for chaos, The Jesus Lizard’s sound is surgical in its precision. The interplay between guitarist Duane Denison, bassist David Wm. Sims, drummer Mac McNeilly, and vocalist David Yow creates a dynamic that feels equally calculated and feral.

Denison’s guitar work on Goat is especially noteworthy. Drawing from post-punk and avant-garde influences, his riffs are jagged and angular, often eschewing conventional melody for textures that veer between hypnotic repetition and violent eruptions. Tracks like “Mouth Breather” and “Monkey Trick” showcase his ability to balance tension and release, weaving dissonant chords into infectious grooves.

The rhythm section—Sims and McNeilly—grounds the chaos with a relentless, bone-rattling intensity. Sims’ basslines are muscular and often carry the melody, while McNeilly’s drumming is tight and propulsive, providing the backbone for the band’s volatile sound. Together, they create a framework that allows Denison and Yow to push the music into unpredictable territory.

If the instruments provide the scaffolding of Goat, David Yow is the wrecking ball. His vocal performance on the album is nothing short of unhinged, alternating between guttural howls, drunken slurs, and moments of surprisingly coherent articulation. Yow’s lyrics are cryptic and fragmented, often more concerned with evoking a visceral reaction than delivering a clear narrative.

In tracks like “Then Comes Dudley” and “Seasick,” Yow’s voice becomes an instrument of chaos, shifting unpredictably between snarling aggression and unsettling vulnerability. His delivery adds an element of unpredictability to the music, making each song feel like a dangerous tightrope walk.

Yow’s presence is inseparable from The Jesus Lizard’s live reputation, where his wild antics—stage diving, mic-stand flailing, and confronting the audience—blurred the line between performance and pandemonium. This energy is palpable on Goat, even without the visual chaos of their live shows.

Steve Albini, a producer known for his raw and minimalist recording style, played a crucial role in shaping Goat’s sound. Albini had previously worked with bands like Big Black, Nirvana, and Pixies, and his approach to recording emphasized capturing the essence of a band’s live performance. On Goat, Albini eschews studio polish in favor of a stark, immediate sound that places the listener in the room with the band.

One of Albini’s hallmarks is his treatment of drums, and McNeilly’s kit sounds massive on Goat. The snare cracks like a gunshot, and the toms rumble like distant thunder, giving the album a physicality that few rock records can match. Similarly, Sims’ bass is given a prominent place in the mix, its growling tone driving the songs forward with relentless momentum.

Albini’s stripped-down production complements The Jesus Lizard’s aesthetic perfectly, enhancing their raw power without obscuring their intricate musicianship. Every note and scream on Goat feels immediate and alive, as though the band is playing just inches away.

Thematically, Goat is as fragmented and enigmatic as its music. Yow’s lyrics often read like abstract poetry, filled with strange characters, grotesque imagery, and moments of dark humor. Songs like “Nub” and “Rodeo in Joliet” evoke a sense of unease, as if they’re tapping into some primal, subconscious realm. This ambiguity is part of the album’s appeal, allowing listeners to project their own interpretations onto the songs.

Beneath the chaos, Goat grapples with themes of alienation, violence, and absurdity. The album’s rawness mirrors the unpredictability of human emotion, capturing moments of rage, despair, and darkly comedic absurdity.

Goat is widely regarded as a cornerstone of noise rock and one of The Jesus Lizard’s finest achievements. The album’s blend of precision and chaos has inspired countless bands, from post-hardcore groups like Metz to experimental rock acts like Daughters. Its raw energy and unrelenting intensity remain a benchmark for what noise rock can achieve.

Despite its critical acclaim, Goat was never a mainstream success, which is fitting for a band as uncompromising as The Jesus Lizard. Their music exists on the fringes, appealing to those willing to embrace its abrasiveness and confront its volatility.

Goat is a record that demands to be felt as much as heard. Its abrasive textures, volatile dynamics, and unrelenting intensity make it a challenging but deeply rewarding listen. The Jesus Lizard’s ability to balance precision and chaos is unparalleled, and Goat captures the band at their most potent.

Over three decades later, Goat remains a touchstone for noise rock and a testament to the power of uncompromising artistic vision. It’s an album that doesn’t just push boundaries—it obliterates them, leaving a jagged, exhilarating legacy in its wake.

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DREW DRAIN

Andrew (Drew) Drain is originally from Point Pleasant, WV, and he now resides in Chapel Hill, NC with his daughter. Drew works as a financial risk management professional to pay the bills, but his real passion is photography. He started taking photos of his daughter playing soccer as a way to resist the urge to coach her from the sidelines. Time behind the camera developed into a love for photography that he has paired with his love for sports and live music. Follow Drew’s Instagram, @Drew.Drain.Photo or his MaxPreps galleries, to check out more of his work or contact him if you need photos of your favorite athlete or performer.

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