Review Summary: The Second Solo Album of Highly Influential Avant-Garde Artist, Danielle Dax
Many have declared this to be Danielle Dax's very best album. Whilst 'Pop Eyes' was a minimalist affair, 'Jesus Egg That Wept' boasts more well-rounded and full-bodied productions. But it's just as equally as strange and ethereal as 'Pop Eyes' - which is certainly no criticism as this is what makes Dax's work so unique and intriguing. Cutting edge experimental music at its very best - and most arty.
'Evil Honky Stomp', a scathing song about black slavery and white supremacy, sounds so jolly when it first kicks in, but the lyrics tell a dark tale. Beguiling and brilliant! 'Pariah' is even better! Opening with a wave of keyboards, this haunting track is one of Dax's most definitive recordings, and captures a compelling vocal performance, which sways from high and soprano-like to a low, almost menacing sound. The eclectic genius that is Danielle Dax is also shown on 'Fortune Tells'. A startling mixture here, beginning with a range of light, tinkling instruments which sets a macabre tone and dark atmosphere, entwined with a stomping Northern-Soul-like beat and doo-wop sounds. What should be an odd blending, makes for a riveting listen, while the lyrics depict a story of a woman who murders her cheating boyfriend!
'Hammerheads' is industrial music at its best, and, like 'Fortune Cheats' , has Middle Eastern sounds and textures woven in. 'Here Comes The Harvest Buns' is a repeat from 'Pop Eyes', while a song speaking of ecology, 'Ostrich', absolutely rocks and is another of the very best. Things then come to a close on the sparse, compelling production 'The Spoil Factor'.
As I say on every review I've done on Danielle Dax, her work on each and every one of her albums is a meticulously produced piece musical art, which is evident on 'Jesus Egg That Wept'. And this particular album has had more influence amongt other musical artists than you know!
Ian Phillips
