I first encountered The Lovely Eggs two years ago at Green Man Festival. Lacking for a precise band I wanted to see, I used my standard metric of “Go for the band with the most interesting name, especially if they have an animal in their name.” It is by this method that one of the first bands I saw at Download was Those Damn Crows – a great band in their own right. Of all of the random gambles I have taken based on a fun name, I don’t think any have paid off quite as much as this one.
The Lovely Eggs are a Lancashire-based duo of Holly Ross – formerly of Angelica, and her husband, David Blackwell. This is their sixth studio album and the fourth on their imprint, Egg Records. It makes quite an impression. Falling somewhere between the electro-gutter poetry of Sleaford Mods, the genre-bending madness of peak-Primal Scream, and the animalistic approach to song construction of Throbbing Gristle – they make a sonic tidal wave that both wears its influences with pride, yet is defiantly forging its own path.
There are a lot of bands that you’ll see described as having a ‘unique sound’, and very few of them truly have one. But in the case of The Lovely Eggs, the label perhaps fits with a sound that alternates between sleepy psychedelics, crunching guitar riffs, and softer, quiet moments that punctuate effectively.
I am Moron finds the band seemingly – and in a quite unintentionally timely fashion – contemplating isolation. The album, co-produced by David Fridmann (of Flaming Lips’ Yoshimi Battles the Pink Robots and Sleater Kinney’s The Woodsamong many), filters this through a metaphor of being lost in space, through lyrical and musical allusions. Even the album art finds a lot of everyday debris floating through the vastness of space.
From the loud-quiet-loud dynamics of album opener’ Long Stem Carnations’ through the pure pop of what may be the catchiest thing the Eggs have produced since ‘Fuck It’ in the form of ‘You Can Go Now’, into the lo-fi punk of ‘This Decision’, the album opens on the band showcasing how far their sound has come; not just getting louder but also more refined.
In between the band’s signature howling guitars and smooth Lancaster vocal tones, ‘The Mothership’ really stands out as a beautiful, subdued number. For the most part, it’s just vocals, sound effects, and arpeggiating instruments as Holly sings, “I just want to sleep alone.” It is an ocean of calm amidst a sea of rage that is just lovely.
Album closer, ‘New Dawn’ is another highlight, but it does have the problem of coming after perhaps one too many songs, lending the album a hint of exhaustion. Even at a relatively restrained 40 minutes, the sheer energy of the album is overwhelming. Perhaps without penultimate track, the somewhat unnecessary ‘Still Second Rate’, it might have come off a little more effective.
But you get the feeling that they might think everything I’ve just said is bollocks when I could have just said, “It’s really good – go buy a copy now.” So maybe I’ll leave it there. This current climate is a really awful one to be self-employed in, and frankly, if you can afford to, go and buy this.
And as they put so much work into making some very fine record sleeves, it would be a shame to just get the download. I’m not accustomed to this form of rampant capitalism, but I genuinely believe in The Lovely Eggs. If we can’t encourage bands with a fierce DIY spirit and tunes to match, who can we back?