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Different strokes for different folks, different bands for different fans. There’s plenty of bands that can fit strictly in a niche and get away lucratively with playing the same thing for the entirety of their careers.
Others simply cannot do this and have to keep branching out and experimenting until that penchant for experimentation almost becomes a niche in itself. New Haven, Connecticut’s own Eggy definitely falls in the latter of the two categories, melding the roots world of The Band and Crosby, Stills, Nash, and Young with the jazz-fusion world of Herbie Hancock and Return To Forever.
Their first full-length release Watercolor Days showcase this tasteful clash of genres in a clear and creative way. “In It for the Ride” starts out on the roots side of things, rolling out a familiar Band-Esque groove complete with an organ and multiple choral harmonies.
“BubaGum” shifts straight into the funk side with a greasy 7/8 groove, switching up the beat and time signature at parts while still making it entirely cohesive. “Upside Down” is defined from the start by its unmistakable contemporary jazz piano intro and infectious bassline, eventually incorporating a multi-harmonic chorus again for a pleasant, working contrast.
“Hux” works the 7/8 angle some more, leading in from a nifty classic rock riff into a full and colorful escapade highlighted by dual doses of illuminating keys: organ, on one hand, piano on the other, both working tightly in concert to add to the song. “Lost and Found” returns to a jazzier form, gliding along a catchy, textured musical landscape before breaking into a beautiful open jam session showcasing the best the strings and ivories have to offer.
“Figure It Out” is an upbeat number, partially turning the slow groove of late 60s roots and blues-rock on its head while keeping much of the organ play and harmonizing around for ear-pleasing stylistic effect.
Starting in on a synthesized note, “Golden Gate Dancer” teases the possibility of going electronic but quickly unfolds into a highly danceable funk to dispel any sort of misgivings about the song’s direction. “Watercolor Days”, the album’s title track and shortest number on the tracklist returns to the ever-familiar plod through the fields and backroads customary of the back-to-the-land type of influences Eggy and many other bands like them are accustomed to channeling.
“Graceless” closes things out, veering into a slightly bluesier territory with plenty of time for soloing, grooving and getting the people moving- all culminating in a full, explosive ending perfectly rounding out a well-put-together first foray into the world of music.
Watercolor Days, in sum positions Eggy as a fresh new band with an eclectic and fruitful sound for the new decade; progressive and reminiscent on either end, easing as much as they are active. A word for the future would be to make songs a fair bit closer to radio length, as many of the tracks on Watercolor are quite extensive.
Other than that, there are definite moments on the record that show great promise of things to come. One can expect whatever they paint next on their canvas will be a true work of art.
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