For the last two years, The Lovely Eggs have sat back and watched England and the rest of the planet slowly eat itself. Their new album ‘I am Moron’ is the result of their observations, a relentless analysis of a modern culture that is bringing the world to its knees. “I am Moron” is the follow up to their critically acclaimed 2017 album “This is Eggland”. It is their second album co-produced and mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) and continues their journey through Eggland into the unknown.
Throughout their 13 year career, TLE have embraced isolation. Both metaphorically and geographically the married couple have chosen to shun the social conventions of normal life and dedicated their band and their life to the pursuit of what feels right. Operating out of their hometown of Lancaster TLE are lonely pioneers and self confessed kings of idiocy.
Working in an industry whose currency is money, success and nepotism, TLE want none of it. They call out everything fake and plastic about the music industry and demand you to re-evaluate on their terms. They’re undoubtedly the most real band in Britain, operating in a world when true authenticity is hard to find.
They have also spent more time on hold to the Working Tax credit hotline than any other band on the planet. “I Am Moron” was self recorded by the band in Lancaster (“The Twin Peaks of Northern England”) between Lancaster Musicians Co-op and their home.
During the recording, Lancaster Musicians Co-op was threatened with closure so the band put their album on hold to fight the eviction. Continuing the heaviness of “This is Eggland” “I am Moron” brings more depth to their sound bringing with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one way space mission.
While in contrast, Insect Repellent launches a gonzo-style attack against the middle classes and Bearpit questions the essence of working class freedom. With no booking agent, manager, record label or publisher TLE are truly independent. And support for them is snowballing.
They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullshit. TLE say it how it is. They’ve never been afraid to swim against the current and now they’ve got an army of fans behind them. Don't miss out on the most collectible record of the year!
Tracklisting: 1. Long Stem Carnations 2. You Can Go Now 3. This Decision 4. You've Got The Ball 5. Bear Pit 6. I Wanna 7. 24 Eyes 8. The Mothership 9. Insect Repellent 10. The Digital Hair 11. Still Second Rate 12. New Dawn
Hold tight, for this is the zenith of the band´s motorpsychodelic tendencies, with emphasis on the blissful and melodic, but still an intense rollercoaster ride all of its own.
Here Be Monsters started life as a commission for the centennial jubilee of the Norwegian Technical Museum in November, 2014. The music was written for the expanded version of Motorpsycho that features everyone's favourite keyboardist Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal, etc.).
Performed just once, this music clearly had more life in it, and while Ståle’s commitments meant he had to pass on making an album out of it, Bent, Snah and Kenneth have turned it into a full-blown Motorpsycho project.
There are five of their own compositions, from the tantalising piano intro (Sleepwalking – and its equally brief reprise Sleepwalking Again) to the expansive and stunningly scenic 17-minute adventure – another rollercoaster! - of the closing Big Black Dog, via the serene beauty of Lacuna/Sunrise and Running With Scissors, and the pulsing, pounding I.M.S. Motorpsycho also felt it was the perfect occasion to record one of their favourite psych nuggets of old; their take on HP Lovecraft’s version of Terry Callier’s Spin, Spin, Spin adds a new, slightly sinister vibe to the old folk tune, which offsets and complements the grandiose cinematic sweep of their own songs.
Co-produced, engineered and mixed by long-time co-conspirator and fellow sonic explorer Thomas Henriksen, who also plays keyboards on the album, Here Be Monsters is Motorpsycho’s most hi-fi, headphone-friendly music yet, taking you closer to the songs’ themes.
Tracklisting: 1. Sleepwalking 2. Lacuna / Sunrise 3. Running With Scissors 4. I.M.S. 5. Spin, Spin, Spin 6. Sleepwalking Again 7. Big Black Dog 8. Sleepwalking 9. Lacuna / Sunrise 10. Running With Scissors 11. I.M.S. 12. Spin, Spin, Spin 13. Sleepwalking Again 14. Big Black Dog
On a sultry July evening on an intimate stage at Kongsberg Jazz Festival, Norway, two elder statesmen of improvised music – one wearing a grey shirt, the other sporting a T-shirt with the legend ‘Thunder Pussy’ – stepped up to the platform.
What followed resembled an in depth conversation between two old friends and sparring partners – one that ranged from the amicable to the argumentative, from hush to harmony.
“What/If/They Both Could Fly” is only the second time this titanic pair have appeared as a duo on record. Their paths have crossed sporadically over the years: Evan has guested in Joe’s Survival Unit III group, and they have frequently made up a trio with saxophonist Daunik Lazro. But their only release together has been “Chicago Tenor Duets”, back in 2000, praised in Jazz Times for its mixture of lyricism and complexity.
Evan Parker was 68 when this concert was recorded and by now music just seems to beat within him, sure as his own heartbeat. McPhee, at 73, is the elder here, but his zaps of energy on the tiny pocket trumpet, and his thoughtful, exploratory lines and throbbing soprano sax overtones are played as vigorously as a man half his age. Listen to the amazing zigzags of interlocking sound about six minutes into opening track ‘What’.
Hear the microtonal mayhem swarming at the start of ‘They Both Could Fly’. The duo never seek to dazzle with virtuosity, but their total mastery of their instruments allows them to dance around each other and match each other’s moves point for point and blow for blow. Play this and you’ll believe two men can fly.
“Death Rattle” is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia based avant guitarist James Plotkin and Norwegian free jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording.
Free jazz and metal-edged rock never chimed so exhilaratingly together before. ‘Paal’s precision and constant invention/reinvention is mind-blowing, only matched by its intensity,’ James enthuses. ‘There’s a very fluid feel to what he’s doing despite the ferocity.
Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role reversal of drummer and guitarist!’ James Plotkin’s distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst and most recently Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone rock.
Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. ‘I've wanted to work with Paal for the better part of a decade,’ comments James. ‘Stephen O'Malley had played one of Scorch Trio’s discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work.’ Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city’s thriving jazz club. In theory he’s now based in Oslo, but there’s a huge global demand for his percussive threshing machine. He’s often travelling on a relentless round of musical projects and festival appearances – notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others.