It was 30 years ago that Jesters of Destiny's Fun at the Funeral debut was released on the short-lived Metal Blade subsidiary Dimension Records. A year later, they released the all-covers record In a Nostalgic Mood, after which the band was unceremoniously hacked from the Metal Blade stable and, unable to land another deal for their third album, No Laughing Matter, they quietly disappeared, with all the main participants going on to other pursuits. All these years later, Jesters of Destiny are back with The Sorrows That Refuse to Drown, an all-new record of the kind of hard rock/metal that only they made. This poses the question: Why? Bruce Duff and Ray Violet, the co-band leaders and production team behind everything the band recorded, are as perplexed as everyone else. "Ray and I were recording new material independently at home, and we sent each other some things and said, 'These seem like songs the Jesters would do,'" says Bruce. "So we started making more, and getting more people involved, and all of a sudden—it was anything but sudden, actually - it seemed like we were making a Jesters of Destiny album." In the subsequent years from the original days of the Jesters, Bruce went on to play with the Streetwalkin’ Cheetahs, Angus Khan, the Adz (Adolescents), Jeff Dahl, and producing the likes of Prima Donna and Thor. Ray produced God Lives Underwater, Tim Harrington (Masters of Reality), Rozz Williams, and engineered R&B legends the Temptations, Shalamar, and By All Means. Both always held the Jesters as a high point in their careers, certainly creatively if not commercially. Indeed, the Jesters might have been just a bit ahead of the curve. According to Wikipedia and Allmusic.com (and even a Creem Metal interview from the band’s own time), Jesters of Destiny were quite possibly the first 'Alternative Metal' band. Ray and Bruce always wondered, "What exactly is Alternative Metal, anyway? Our music always had a lot of elements in it, whatever was around that we were listening to," recalls Ray. "Black Sabbath mingled with Prince in our world, along with Jane’s Addiction and the Chocolate Watch Band. If we liked it, it went into the mix." This is still true today, with The Sorrows That Refuse to Drown bookended by the thunder-riffs of "Fire in the Six Feet Hole" and "Another Fire Six Feet Deep." Along the way, there’s the soundscape "Ladies of Runyon Canyon," the mini-documentary of "The Misunderstood," a recasting of Screaming Lord Sutch's very first single Til the Following Night, and even a waltz with no drums, Happy Ending. "We always called what we did Gleeful Gloom," notes Bruce. "With 30 years of real life since Funeral, we might be leaning a bit more on the gloom side. We wanted to lighten the load at the end, hence 'Happy Ending.' Also, however deep we lean into our own trials, Ray still really likes songs about the devil. If it ain't broke..."