The duo took to the stage (which they filmed, watch it HERE) took a pre gig crowd photo of us punters on her phone. Good to see that with the passing of time, and a Pandemic, they’re selling out the main venues like nobody’s business. “ I Am Moron” is out on 3rd April on Egg Records.I had not actually caught these guys live before when they played Brighton, but have seen them climb venue size on each visit, and tonight it was the turn of Concorde 2 and 600 fans. Bewilderingly brilliant lo-fi for now people. Simultaneously innocent and knowing, and completely and charmingly mad, I Am Moron absolutely should be your new favourite record. It’s also a cruel mirror to the idiocy of modern Britain. That’s one of the charming paradoxes underlying this record: while there’s a clear family tie between “ I Am Moron” and the kind of Peel-fave introspective and determinedly odd and angular experimental pop of the early 80s, The Lovely Eggs are very now.Ĭombining the melodic drive and spirit of The Dollyrots with the determined eccentricity of Mark E Smith and mixing it all up into one gloriously snarky and idiosyncratic mélange, The Lovely Eggs have made a cracker of an album. But while that band’s wistful Euro-rock was very much of its time, The Lovely Eggs have managed to make that sound contemporary and fresh again. The ‘ Mothership‘ (short and sweet at 2:10) and the towering ‘ New Dawn‘, which closes the album, have an inexplicable melancholy that is at odds with the defiant tone of the rest of the album.Īfter a couple of listens, I remembered what this driving analogue synth/fuzz guitar beat groove reminded me of. However, the introspective songs hint that for all the mentions of excretion and vomit, there’s a sensitive heart to this album. Repeating motifs and coiling musical themes make for instant earworms such as ‘ You’ve Got The Ball‘, ‘ Insect Repellent‘ and ‘ Still Second Rate‘. Add a driving motorik drumbeat and you have ‘ The Digital Hair‘. There’s a hint of The Fall in the pounding fuzz of ‘ This Decision‘ and ‘ 24 Eyes‘. There is also no false moderation or concession on accent – The Lovely Eggs are charmingly and unapologetically regional. This sense of discomfort is heightened in ‘ You Can Go Now‘ which, for all its politeness, is a litany of modern things we can do without, delivered in a sweetly dismissive but devastating, eye-rolling bored teenager style. This means that the retro synth bleepery that is the intro and outro to opening track ‘ Long Stem Carnations‘ can stretch further than is comfortable. There’s no constraint on form, no genre conventions to adhere to. ![]() Welcome to our world.’ĭoing exactly what they like means that every idea gets full expression. We have a lot of different sounding songs. That’s how it goes when you have your own band. It’s a quality they acknowledge, and I make no apology for quoting from their website, because it sets the tone for this review of what is by any measure, a brilliant album: ![]() ![]() While there is a superficial similarity in the setup and methodology, Holly and David are, as far as I can ascertain, utterly unique. To call The Lovely Eggs ‘northern Ting Tings‘ is to do them a massive disservice.
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