Jizzlobber

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Jizzlobber is the 12th track on Faith No More's fourth studio album Angel Dust, and was received with very mixed emotions by fans. It is one of only two songs on the album in which guitarist Jim Martin had any input, according to credits released by Billy Gould in 2004. The other song is reported to be "Kindergarten", the music for which Martin and Gould worked on together.

From a literary perspective, the song is nothing if not muddled and ambiguous. It's furious, unfocused and it could be read as a sort of rejection of conventional forms and ideas in popular music. Beneath the cultural allusions and apparent themes within the song (Shame, Anger, Violence, Sexual Compulsion) there is some faint story about someone with an aggressive and unhealthy sexual nature who is supremely disgusted with himself but remains incontinent and powerless against his ravaging addiction. However, the "addiction" could quite possibly be violence, and physically harming other people. When this interpretation is intertwined with the sexual aspect of the song our presumably hetero male narrator begins to take on criminally mysogonistic character traits; ("I am what I've done, I'm sorry, I'm sorry"). A sexual deviant or rapist perhaps would be apt roles for this character.

The track begins with the sounds of a swamp, and segues into a metered minor chord played on keyboards in an extremely discordant fashion. This is coupled with an exceedingly complex drum part, arranged in a form that's quite conducive to syncopation. Heavily distorted guitars and vocals kick in and at once the song acquires traction. The main body of "Jizzlobber" is raucous and boiling with rage, so bloated and over the top that it seems as though it's building to a climax that can't possibly outdo what came before it. This giant leap for the sake of dynamics consists of an obscenely epic organ and choir ensemble, reminiscent of Christian church music. This finale, though not even remotely comparable to the rest of the song, somehow manages to live up to its climactic label. And although this seemingly unsuitable ending may sound pretentious, it's very unlikely that the band wrote this song with the intention that their audience would perceive all facets of it with great earnestness. It may be safe to say that irony was at least one of the driving forces behind this long-winded opus.

The following lyrics are omitted from the album booklet:

They will sum it all up in a sentence
A verdict made by those who know
I'm ready to make a commitment
I'm willing to make love to concrete