It seemed like the perfect marriage: Steve Albini, noted for his bare-bones, live-in-the-studio underproduction and his emphasis on the sweatier elements of the rhythm section, and the Jesus Lizard, an aggressive post-punk band with a fondness for off-kilter time signatures, unusual guitar shifts and vocals that sound best when masked in a web of distorted effects. But after peaking with the landmark Liar (1992), the Albini-Lizard combination played itself out, and subsequent releases covered the same ground with less successful results.

On Shot, the Jesus Lizard's first major-label studio release, new producer GGGarth Richardson (the Melvins, L7, Red Hot Chili Peppers) expands the group's attack. Where Albini let drum shots ring out as explosions from the battle zone, Richardson opts for a more conventional layered-guitar approach that highlights Duane Denison's melodies without losing the emphasis on the rapid-fire syncopation. While this push into more familiar terrain might have weakened a lesser band, the Jesus Lizard's abrasive tendencies remain in full force. Only singer David Yow sounds naked. For much of the record, his vocals are clearer than before, revealing an uncanny resemblance to John Lydon's.

The band's songwriting is a dicier affair. "Thumper," "Blue Shot" and "Skull of a German" reach anthemic heights, proving that no one beats the Jesus Lizard at their game. "Trephination" reminds you that two members of this band are veterans of Butthole Surfers-influenced Scratch Acid. "More Beautiful Than Barbie" and "Now Then" feature Yow's typical lyrical concerns (twisted romance, violent urges and overflowing toilets), but musically the songs suggest that even phenomenal live bands need to take a break from the road to write new material.

Thankfully, the Jesus Lizard show no signs of attempting a catchier, more radio-friendly sound. Yow may scream, "Nice, nice, nice, nice, nice, real nice/I'll take a crack at nice," but for better or worse, it's the same ol' nasty Jesus Lizard. (RS 733)

ROB O'CONNOR