A lazy evening with some blues is time well spent for me. The Bad Egg aren’t really your normal definition of blues, they’ve got a bit more edge, a little bit of spunk, and a very tacit aggression. The Swiss indie production, directed and orchestrated by singer-songwriter Philipp Eggenberger is a solo project that is unafraid to be as experimental and out there as it deems necessary. Self-dubbed as “supa-space-fuckin-freak-blues-rock”, ‘A Night in Gale’ is a whole lot of things fused into one eclectic box that contains within it a core of old school blues, abrasive industrial rock, and modern alternative. Although it’s rather glum with its overarching themes, it’s got a hell of a lot of character to it that makes it a wholly enjoyable ride.
Almost entirely written in lockdown, A Night In Gale, features Philipp alongside a collective of artists who have never met together. But they each share an intimacy, a passion for their craft that comes alive in their music. And, in case it wasn’t immediately obvious, the album’s name itself is a play on the same animal that titles the first track. “In the past, the nightingale’s song was considered to alleviate pain and bring a gentle death to the dying and a speedy recovery to the sick.” According to Eggenberger, a symbolisation of the timeless role of a bard, in which he also recognises himself.
The album bounces from style to style quite effortlessly. The opening tracks signal a rather rough and in your face hard rock album almost, characterised by distorted and punchy riffs that dominate the production. But on ‘Interlude’, the entire vibe takes a sharp U-turn. Featuring vocals from Luana Jil, it’s a far more mellow, pleasant, and relaxing piece that serves as a welcome reprieve when it comes on. I almost thought I accidentally shifted albums because of how starkly different it was.
And then there’s ‘Backspin’, a track that is as fun as it is all over the place. It’s addictively catchy with a chorus and beat that are just loaded with funk. The song’s main melody is made with a synthesizer sounding like a xylophone with some reverb. A collection of diverse instrumentation just give it a wobbly, bouncy touch that make it so easily enjoyable.
Across six tracks, The Bad Egg somehow constantly reinvent and reimagine themselves. Phillip’s project is wonderfully weird, embracing a host of ideas and sounds that radically differ from track to track to create a truly pleasurable listening experience.
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