London-based multimedia artist Joe McIntosh, operating under the alias JeezJesus, steps into a stark and confident new chapter with Somewhere Between Love & Misery. Following the industrial-goth sheen of Super Creeps & Spooky Beats and the experimental detour of Sound Art: Vol. 1, this fourth album closes the door on a turbulent period of McIntoshโs life while sharpening his identity at the crossroads of post-punk, darkwave, synthpop, and industrial.
Written and shaped largely between mid-2024 and late-2025, the album wrestles with socio-political anxiety, mental health, love, anger, and burnout, splitting its emotional weight between a bruising first half and a comparatively lighter, melodic second.
The opening instrumental, โAbandon Everything,โ unfurls a foreboding electronic hellscape that hums like a warning siren before the songs hit proper. Things snap into focus with โI See You,โ a hard-hitting electro-punk rallying cry where rigid beats and snarling synths back lyrics that confront injustice head-on, turning recognition itself into resistance. Then thereโs โLike to Like You,โ a darkly catchy synthpop cut that skewers social media culture, its metallic pulse and Gary Numan-esque tone underscoring the quiet damage of comparison and algorithmic validation.
โControlโ digs inward, pairing industrial darkwave textures with tightly coiled vocals as McIntosh documents his battle with depression and anger, while โCost of the Lostโ leans heavier, letting guitars grind as it questions the human cost of war, polarization, and media-driven hate. Later, the album exhales. โWe Could Be Friendsโ glides in with glossy โ80s-inspired synthpop, capturing the nervous hope of romantic feelings crossing the line from friendship, and โBurnt Outโ flashes by like a frazzled new-wave club anthem, short, sharp, and painfully relatable. By the time the record spirals into its chaotic closer, JeezJesus has laid everything bare, offering Somewhere Between Love & Misery as a raw love letter to darker alternative electronic musicโand to survival itself.
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Review by: Naomi Joan