March 26, 2025 • 28 mins
Dive deep into the indie rock world of French band EggS with frontman Charles Daneau, who joins us from Paris to unpack the band's musical evolution and creative philosophy. Charles reveals how discovering American lo-fi bands like Guided by Voices and Beat Happening fundamentally shaped his approach to music, showing him that expression matters more than technical perfection.
The conversation explores EggS' collaborative songwriting process, where Charles brings acoustic foundations that transform through the diverse influences of his bandmates. We witness how negotiations between his Big Star sensibilities and his colleagues' more contemporary tastes create their unique sonic identity. Charles candidly shares how a simple lineup change—moving their drummer to guitar and bringing in a punk drummer—completely transformed their sound, finally achieving the "wall of sound" they'd been seeking.
Between their 2022 debut "A Glitter Year" and 2024's "Crafted Achievement," we track how EggS evolved their arrangements, creating more space between instruments while maintaining their raw energy. Charles offers fascinating insights into his English-language songwriting, their recording process with trusted studio partners who understand their vision, and their ambitious plans for new music created with open tunings and a revamped demo approach. For fans of indie rock with substance, Charles Daneau's musical journey demonstrates how authenticity and creative evolution can produce something truly special. Listen now and discover why audiences across France—and increasingly internationally—respond with smiles and dancing to EggS' distinctive sound.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
colleyc (00:42):
Another episode of ifitbeyourwill Podcast, season
five, and I'm reaching prettyfar.
I'm headed to France.
This isn't the first personthat I've interviewed from
France.
I had Nouvelle Vague, MarcCollin on who is pretty cool,
cool.
But I think that this is evenwower for me because the music
(01:05):
relates to me more.
I have eggs um coming in fromParis, imagine um yeah exactly
awesome.
is here from EggS.
He's the lead lead of the bandum, and we're going to talk a
(01:26):
little bit about how he got towhere he is now.
A new record they just put outin 2024, called crafted
achievement.
Uh, that came out on perfectrecords and also on the howling,
howling banana.
What a mouthful they shall uh,it's really nice, uh, to see you
and meet you, and thanks foraccepting my invitation.
EggS (01:48):
thank you for having me, uh, chris so shall just to kind
of like get oriented a bit.
colleyc (01:56):
Tell us a little bit about how music started for you.
Um, do you?
What are some of yourrecollections of, of your
interest in music at a young age?
Was it always there?
What influences were upon youthat kind of led you towards
wanting to do music as aprofession?
EggS (02:15):
So first, I'm not a professional, but because I
always loved music notunprofessional always loved
music, not unprofessional um, Imust say, um, I come to music
very late because until highschool I listened to random
(02:35):
music on the radio.
But uh, I met a older guy thanme and they introduced me to uh
indie rock and especially uhearly uk indie rock.
You know, like felt uh echo andthe benny man, the smith, all
this kind of stuff, and that'soh I started to love, uh really,
(03:01):
the music.
It's uh the band who introducedme to what the music could be
for me.
And after that, when I startedto play in a band, I must say
the most important music for mewas the lo-fi music from
American, I think, about bandslike Guided by Voices or Beat
(03:26):
Happening, because this kind ofband taught me that you can play
music without knowing how toplay the guitar or the keyboard.
But that was very important,for this kind of band is what
(03:48):
you try to express through themusic after how you can play the
guitar.
And I think this kind of bandled all the music I wanted and I
want to try again.
And did you know that youwanted to lead a band or you
just wanted to be in a band, themusic I wanted, and I want to
try now again.
colleyc (04:05):
Wow, and did you know that you wanted to lead a band?
Or you just wanted to be in aband Like, did you want to be
that front person?
Was that something thatappealed to you?
EggS (04:15):
I wanted to play music, I lead the band or lead the band.
It was in my.
I don't want to be a leader ora rock star or something like
that.
I wanted to play music and Ineed to play music today again.
That's the thing that is veryimportant for me.
(04:39):
It's playing music in live withmy friend and when we play in
EggS, I think it's veryimportant to be a band and
that's why when you see us onstage, we are many, because I
always like the full bandapproach.
(05:02):
You know, for example, even I'mnot a big fan of Brian
Johnstone Massacre it's not thekind of music I like, but I
really like the approach, thethree guitars who play the same
chord and all this kind of thing, and that's why in EggS, we are
many to play the music.
(05:23):
So I don't want to be a leader.
I want to be a part of a band,uh, a band with the, the full uh
image of what is a band rightcool.
I love your description of it.
That's great.
And and, Charles, what?
What was it like?
This is kind of a question Iwas thinking about as I was
listening to and thinking aboutthe two records that you had.
(05:46):
When do you know when to bringmore musicians in?
Like, what is it that you'relooking for?
Are you looking for more sound,or you're doubling up guitar
sound?
Like?
How does it improve the soundoverall when you're?
When you're bringing in moreand more musicians into the mix,
does it get muddied after awhile?
Or how do you keep it so thatit still sounds fresh and like?
(06:09):
Every instrument has a purpose.
I think I wanted to be closer to the American guitar
sound.
I don't know if it's clear whenI say that, but when I saw an
(06:29):
American band, let me think if Isay Get it by Voices, for
example, there are not so manyothers, but they have a big
sound, big sound, um a raw soundand a loud sound of guitar and
(06:50):
I think I wanted to try to becloser of the guitar sound I
wanted to try to produce.
colleyc (07:14):
Okay, okay, and like it also very similar to like
pavement as well.
Right, it's very indie rock,some jangle, but also like just
beautiful lines that you put inthere too.
Um, how do you go about writingthese songs?
Like, is it you that brings thesongs into the band and then
how does that unfold?
(07:34):
Like, so you have an idea of asong, you bring it to the band
and what's your approach?
Are you very much like okay, Iwant to have kind of this here
and that there, or is it verymuch you let them decide how
they're going to go about?
Adding I I.
EggS (07:49):
I told the second uh, I, I , I, I come with the.
All the songs are right on theacoustic guitar and when I play
the acoustic guitar I have anidea of how the song has to
sound when we are all together.
But any member of the band, Idon't even have the same musical
(08:23):
culture, you know, than me.
Like everybody brings their ownkind of style.
I was just saying that theybring their style to the mix.
They bring their style in EggS,and so that's why, when
sometimes I came with my, that'swhy, when sometimes I came with
(08:43):
my, an idea, a precise idea ofhow the song must sound,
sometimes it's very different atthe end.
For example, I'm a big fan ofBig Star and all the members of
the band find Big Star is oldstuff.
They don't like.
(09:05):
Big Star.
I'm a Big Star fan, but all thebands say no, no, it's too old,
it's that rock.
I don't like this kind of music.
So when I write a song and inmy head the song has to sound
like Big Star, they say no, no,we have to have a different
approach of that.
colleyc (09:24):
Okay, and is that like you take those advices on like,
do you accept all?
Right, we'll go away from bigstar.
EggS (09:31):
We'll head towards another style for example, in the last
album there is a song calledstumbling down.
I don't know if you know thissong.
Yeah, it's in my head, it's abig star song, but when Leo
played the keyboard for him,it's a clean song from New
Zealand, you know.
Okay, and how do those like isit always negotiated like that?
(09:55):
So you're always open tolistening to the opinions?
Yeah, I'm not a dictator.
I'm open-minded about the bandRight.
colleyc (10:08):
That's cool.
And tell me, Charles I mean thetwo records you put out A
Glitter Year in 2022, and thenthis Crafted Achievement, 2024,
what do you find the biggestdifferences are between the
sound that you guys got out ofeach of those two records?
Like, did it evolve from thefirst to the second?
Like, what were your thoughtsof how you wanted it to be
(10:30):
different?
I guess my question is from thefirst to the second, did you
have ideas of how you wanted tochange the sound or add
different layers to it?
EggS (10:39):
uh, yeah, when we recorded the glitter here, the thing was
a little bit different, becauseI bring the song, we rehearsal
the song and we don't work onthe arrangement of the song.
So I don't know if it's clearwhen I say that, but so we play.
(11:06):
For example, Greg, who playedthe guitar with me, we played
exactly the same chord on theguitar and we didn't work very
hard on the arrangement.
But when we started to recordthe new LP, we said we have to
(11:31):
hear different parts.
It was important for us that weheard the arrangement of the
keyboard, the arrangement of theguitar of Gregory.
We put a steel guitar, forexample.
It's a difference too, and so Ithink there are most spaces
(11:53):
between the differentinstruments.
colleyc (11:56):
Right, right, very interesting.
And did you approach writingthe two records the same way Was
your process, the same how youwrote the songs?
EggS (12:08):
Yeah, we recorded in the same studio, the Claudio studio,
close to Versailles, near Paris, in a suburb of Paris.
It's the same people who workon the LP, because it's very
important.
We trust them because theyunderstand what we try to do.
(12:31):
It's very difficult to find, uh, people in France who are into
the kind of music we love inEggS.
And Guillaume, who recorded thetwo lps, are exactly in the
same music than me and so, uh,it was very important to work
(12:54):
with him and with Alexis, whoare in the studio too, because
they totally get what we try,what we want to do.
So the process of recording isexactly the same.
But we but we discuss on thesecond LP about the arrangement
(13:22):
thing.
When we recorded the first LP,I said I want Comet Gate LP with
Guided by Voices LP mix, flyingNun Records LP.
(13:43):
That's what I wanted.
But when I started to record it, the second album, I said to
Guillaume I wanted to try tomake something more hi-fi, but
you have to keep in the sametime the raw thing of eggs.
colleyc (14:04):
Right, right, right.
The spirit of l'esprit du sonof the band EggS, and Charles,
thanks so much, for I know thisis your second language.
Yeah, you're speakingwonderfully Thank you.
Thank you for doing that.
I know it's not always easytalking in your second language,
(14:25):
so I appreciate it.
Tell me about the first record.
So I read that when the firstrecord came out you did very
little press, very littlegetting the record out there.
Um, what changed from thatfirst record to the second
record in approach, how you'regoing to put it out into the
world?
(14:46):
Um, did you want it to be morein people's faces rather than
kind of just letting people cometo it?
You wanted to push it out more.
EggS (15:05):
It's difficult to say I didn't think about that.
I didn't think about that.
That's what we want is playingmusic before people, before
audience, and more and morethat's what we try to express
(15:29):
with EggS.
And we don't have a plan.
We just want to record ourmusic and try to make a better
song, try to make a better musicevery time we put a record out.
But we don't have a plan to.
(15:50):
We don't want to be a rock star, for example, but that's what
we can expect is playing, maybeall around Europe, for example,
because now we just play inFrance and we hope to have the
(16:14):
opportunity to play in Europe,maybe in the United States and
in Canada, but it's moredifficult for us to come there.
It's very expensive anddifficult for band like us to
find a farm to play there.
But if we can play in Europebecause of this album, it could
(16:38):
be cool.
colleyc (16:40):
Yeah, for sure.
And how have you found thereception of the latest Crafted
Achievement?
How have you found thatreception has been in the world?
Have people liked the record?
What has been the response inyour opinion?
EggS (16:55):
Yeah, the response was pretty good.
When I speak with Howlin" fromBanana or Record Label, he
said to me that most of thepeople who buy the records are
(17:16):
not French but American English,and it's important for
Australians and it's importantfor me, because that means we
manage to produce music whospeak to the people, the
audience, who get used to listento this kind of music, and so
(17:44):
the goal is okay.
colleyc (17:46):
Cool, cool and describe to me your show.
What does EggS look like live?
What happens at your shows?
I know you have several artistson the stage.
Can you walk us through what atypical egg show might feel,
sound like?
EggS (18:06):
I think when I speak with people who sell us, they say
there are these wall of sun, itworks.
So now it works.
It took for us many times tomanage to produce this wall of
(18:31):
sun, but now I think it worksand people have the smile when
they saw us to play, because weexpress a kind of music family,
you know, and that's what Iwanted to produce when I started
EggS, and so when they saw us Ican see in the audience people
(18:59):
smiling and dancing and it's thething very cool in the music,
when you play music and youunderstand that what we try to
produce works directly in mindof the people.
So I think our sound is moreraw on stage, more loud, but you
(19:28):
can hear the voice correctly.
I think we're pretty good yeah,and, charlotte, I'm interested
too.
Like you said, it took a whileto create this wall of sound.
What were some of the keymoments where it started to
happen?
Were you, as a band, you'relike, okay, we're getting there,
we're getting closer to this,this idea that we had?
(19:50):
Do you remember some of thoseoccasions where it was just like
, oh, wow, that's it.
When we started to produce that.
That's what you asked.
colleyc (20:02):
Yeah, like, how did you create that wall of sound as
you described?
EggS (20:06):
Yeah, when we started to make eggs, I think we sounded
more than a UK early indie bandfrom the eighties, you know, uh
like Sarah records with a gentleguitar and um.
But uh, and it was because, uh,the rhythm section we changed
(20:30):
the rhythm section.
For example, grégoire, whoplayed a guitar in eggs, started
as a drummer but it's not hisfirst instrument.
And Rémy came to play the drumand it's a good, he came from
the punk rock, so, and itchanged A little louder, a
(20:55):
little faster, yeah, it changedeverything it changed everything
.
And.
I remember I've read a biographyof Guided by Voices that Robert
Pollard asked when he waslooking for a drummer.
He wanted a punk drummerbecause he wanted to play pop
music with a drummer, music witha post-punk approach, and
(21:21):
that's this idea which definesthe music of EggS, I think,
because when we change therhythm section, and especially
the drummer, when we changed therhythm section, and especially
the drummer, grégoire came backto his natural place, which is
the guitar, and Remy took thedrum.
It changed everything.
(21:45):
that's cool and did everybodyfeel that, like everybody in the
band were like, yeah, totally,totally, and it took just that
little switch just switchingthose two around, yeah that's
really cool.
colleyc (21:55):
That's really cool.
And so what, what, what?
What's the future looking like?
What's 2025 looking like foreggs?
Where are you guys headed andwhat new music you can tell us
about?
EggS (22:05):
that's coming next month we're touring in France across
the front, so it's pretty coolbecause it's a it's a tour.
It's a tour of uh 10 or 11 gigs,so it's pretty cool, it's um we
started to rehearsal new songwith a new approach because, uh,
(22:28):
for, give me a zoom r16, youknow, yeah, and when I said you,
you, I, every song of EggS areriding on a guitar, folk, no, I
started to write the song with,with drum machine, a bass and a
(22:54):
guitar on the R16.
And it changed everythingbecause I can introduce the song
to my fellow with already theidea of the spirit of the song,
the rhythm, the move, the moodof the song, the rhythm, the
(23:15):
move, the mood of the song.
So it's in the songwritingprocess, it goes quickly and
faster to rehearsal and toproduce a song, and so we
started to work like that and Ithink it changed.
So we opt to release maybe anew ep at the end of the year oh
(23:41):
, great, amazing, amazing.
colleyc (23:44):
So the songwriting is evolving quickly then like it's
moving nicely now yoursongwriting process.
EggS (23:50):
You have a pretty good form, yeah and I give me a
challenge because I want towrite uh all the ep and maybe an
lp with a new uh open tuning onmy guitar.
So it's a classic, open to ablues, open tuning, you know,
but I really like this kind ofuh of uh of tuning and it
changed everything in theapproach of the songwriting
(24:13):
amazing amazing and Amazing.
colleyc (24:15):
And how do you like singing in English?
Is that tough to write lyricsin English for you?
EggS (24:22):
No, Writing and singing is pretty easy.
It's pretty hard for me nowbecause I don't practice
every time to speak in English,but I think I have a good
understanding of the english.
I can.
I read many uh book in englishand I I I loved read lyrics, uh,
(24:43):
english lyrics.
So, um, uh, it's very importantfor me to sing in english
sometime.
Sometimes in an interview inFrance, they asked me why don't
you sing in French?
But it's not my musical culture.
As I said, most of the bands Ilike sing in English.
(25:06):
So I need to sing Englishbecause I like the rhythm of the
music and with the language ofthis language, I think it works
better than French.
So that's why I try and Iwanted to write better and
better and better songs inEnglish.
Maybe one day a band that Ireally like made a cover of an
(25:32):
egg song, maybe, maybe.
colleyc (25:35):
Who knows, all of these things are possible.
Yeah, that's great.
Well, shell, this has been alot of fun.
Thanks so much for taking a bitof time out here your evening
your stories are really greatand, uh, I wish you a ton of
success with the EggS formationand the record and touring.
I will will definitely befollowing you in the long run
(25:58):
and keep writing these greatsongs.
I mean this latest record.
Go out and get it peoplelisteners and if you're in
France or UK, go and catch EggSlive.
It sounds like a great show.
So again thanks, this has beena lot of fun.
EggS (26:13):
Thank you, chris.
Thank you very much.
Another episode of ifitbeyourwill Podcast, season
five, and I'm reaching prettyfar.
I'm headed to France.
This isn't the first personthat I've interviewed from
France.
I had Nouvelle Vague, MarcCollin on who is pretty cool,
cool.
But I think that this is evenwower for me because the music
(01:05):
relates to me more.
I have eggs um coming in fromParis, imagine um yeah exactly
awesome.
is here from EggS.
He's the lead lead of the bandum, and we're going to talk a
(01:26):
little bit about how he got towhere he is now.
A new record they just put outin 2024, called crafted
achievement.
Uh, that came out on perfectrecords and also on the howling,
howling banana.
What a mouthful they shall uh,it's really nice, uh, to see you
and meet you, and thanks foraccepting my invitation.
EggS (01:48):
thank you for having me, uh, chris so shall just to kind
of like get oriented a bit.
colleyc (01:56):
Tell us a little bit about how music started for you.
Um, do you?
What are some of yourrecollections of, of your
interest in music at a young age?
Was it always there?
What influences were upon youthat kind of led you towards
wanting to do music as aprofession?
EggS (02:15):
So first, I'm not a professional, but because I
always loved music notunprofessional always loved
music, not unprofessional um, Imust say, um, I come to music
very late because until highschool I listened to random
(02:35):
music on the radio.
But uh, I met a older guy thanme and they introduced me to uh
indie rock and especially uhearly uk indie rock.
You know, like felt uh echo andthe benny man, the smith, all
this kind of stuff, and that'soh I started to love, uh really,
(03:01):
the music.
It's uh the band who introducedme to what the music could be
for me.
And after that, when I startedto play in a band, I must say
the most important music for mewas the lo-fi music from
American, I think, about bandslike Guided by Voices or Beat
(03:26):
Happening, because this kind ofband taught me that you can play
music without knowing how toplay the guitar or the keyboard.
But that was very important,for this kind of band is what
(03:48):
you try to express through themusic after how you can play the
guitar.
And I think this kind of bandled all the music I wanted and I
want to try again.
And did you know that youwanted to lead a band or you
just wanted to be in a band, themusic I wanted, and I want to
try now again.
colleyc (04:05):
Wow, and did you know that you wanted to lead a band?
Or you just wanted to be in aband Like, did you want to be
that front person?
Was that something thatappealed to you?
EggS (04:15):
I wanted to play music, I lead the band or lead the band.
It was in my.
I don't want to be a leader ora rock star or something like
that.
I wanted to play music and Ineed to play music today again.
That's the thing that is veryimportant for me.
(04:39):
It's playing music in live withmy friend and when we play in
EggS, I think it's veryimportant to be a band and
that's why when you see us onstage, we are many, because I
always like the full bandapproach.
(05:02):
You know, for example, even I'mnot a big fan of Brian
Johnstone Massacre it's not thekind of music I like, but I
really like the approach, thethree guitars who play the same
chord and all this kind of thing, and that's why in EggS, we are
many to play the music.
(05:23):
So I don't want to be a leader.
I want to be a part of a band,uh, a band with the, the full uh
image of what is a band rightcool.
I love your description of it.
That's great.
And and, Charles, what?
What was it like?
This is kind of a question Iwas thinking about as I was
listening to and thinking aboutthe two records that you had.
(05:46):
When do you know when to bringmore musicians in?
Like, what is it that you'relooking for?
Are you looking for more sound,or you're doubling up guitar
sound?
Like?
How does it improve the soundoverall when you're?
When you're bringing in moreand more musicians into the mix,
does it get muddied after awhile?
Or how do you keep it so thatit still sounds fresh and like?
(06:09):
Every instrument has a purpose.
I think I wanted to be closer to the American guitar
sound.
I don't know if it's clear whenI say that, but when I saw an
(06:29):
American band, let me think if Isay Get it by Voices, for
example, there are not so manyothers, but they have a big
sound, big sound, um a raw soundand a loud sound of guitar and
(06:50):
I think I wanted to try to becloser of the guitar sound I
wanted to try to produce.
colleyc (07:14):
Okay, okay, and like it also very similar to like
pavement as well.
Right, it's very indie rock,some jangle, but also like just
beautiful lines that you put inthere too.
Um, how do you go about writingthese songs?
Like, is it you that brings thesongs into the band and then
how does that unfold?
(07:34):
Like, so you have an idea of asong, you bring it to the band
and what's your approach?
Are you very much like okay, Iwant to have kind of this here
and that there, or is it verymuch you let them decide how
they're going to go about?
Adding I I.
EggS (07:49):
I told the second uh, I, I , I, I come with the.
All the songs are right on theacoustic guitar and when I play
the acoustic guitar I have anidea of how the song has to
sound when we are all together.
But any member of the band, Idon't even have the same musical
(08:23):
culture, you know, than me.
Like everybody brings their ownkind of style.
I was just saying that theybring their style to the mix.
They bring their style in EggS,and so that's why, when
sometimes I came with my, that'swhy, when sometimes I came with
(08:43):
my, an idea, a precise idea ofhow the song must sound,
sometimes it's very different atthe end.
For example, I'm a big fan ofBig Star and all the members of
the band find Big Star is oldstuff.
They don't like.
(09:05):
Big Star.
I'm a Big Star fan, but all thebands say no, no, it's too old,
it's that rock.
I don't like this kind of music.
So when I write a song and inmy head the song has to sound
like Big Star, they say no, no,we have to have a different
approach of that.
colleyc (09:24):
Okay, and is that like you take those advices on like,
do you accept all?
Right, we'll go away from bigstar.
EggS (09:31):
We'll head towards another style for example, in the last
album there is a song calledstumbling down.
I don't know if you know thissong.
Yeah, it's in my head, it's abig star song, but when Leo
played the keyboard for him,it's a clean song from New
Zealand, you know.
Okay, and how do those like isit always negotiated like that?
(09:55):
So you're always open tolistening to the opinions?
Yeah, I'm not a dictator.
I'm open-minded about the bandRight.
colleyc (10:08):
That's cool.
And tell me, Charles I mean thetwo records you put out A
Glitter Year in 2022, and thenthis Crafted Achievement, 2024,
what do you find the biggestdifferences are between the
sound that you guys got out ofeach of those two records?
Like, did it evolve from thefirst to the second?
Like, what were your thoughtsof how you wanted it to be
(10:30):
different?
I guess my question is from thefirst to the second, did you
have ideas of how you wanted tochange the sound or add
different layers to it?
EggS (10:39):
uh, yeah, when we recorded the glitter here, the thing was
a little bit different, becauseI bring the song, we rehearsal
the song and we don't work onthe arrangement of the song.
So I don't know if it's clearwhen I say that, but so we play.
(11:06):
For example, Greg, who playedthe guitar with me, we played
exactly the same chord on theguitar and we didn't work very
hard on the arrangement.
But when we started to recordthe new LP, we said we have to
(11:31):
hear different parts.
It was important for us that weheard the arrangement of the
keyboard, the arrangement of theguitar of Gregory.
We put a steel guitar, forexample.
It's a difference too, and so Ithink there are most spaces
(11:53):
between the differentinstruments.
colleyc (11:56):
Right, right, very interesting.
And did you approach writingthe two records the same way Was
your process, the same how youwrote the songs?
EggS (12:08):
Yeah, we recorded in the same studio, the Claudio studio,
close to Versailles, near Paris, in a suburb of Paris.
It's the same people who workon the LP, because it's very
important.
We trust them because theyunderstand what we try to do.
(12:31):
It's very difficult to find, uh, people in France who are into
the kind of music we love inEggS.
And Guillaume, who recorded thetwo lps, are exactly in the
same music than me and so, uh,it was very important to work
(12:54):
with him and with Alexis, whoare in the studio too, because
they totally get what we try,what we want to do.
So the process of recording isexactly the same.
But we but we discuss on thesecond LP about the arrangement
(13:22):
thing.
When we recorded the first LP,I said I want Comet Gate LP with
Guided by Voices LP mix, flyingNun Records LP.
(13:43):
That's what I wanted.
But when I started to record it, the second album, I said to
Guillaume I wanted to try tomake something more hi-fi, but
you have to keep in the sametime the raw thing of eggs.
colleyc (14:04):
Right, right, right.
The spirit of l'esprit du sonof the band EggS, and Charles,
thanks so much, for I know thisis your second language.
Yeah, you're speakingwonderfully Thank you.
Thank you for doing that.
I know it's not always easytalking in your second language,
(14:25):
so I appreciate it.
Tell me about the first record.
So I read that when the firstrecord came out you did very
little press, very littlegetting the record out there.
Um, what changed from thatfirst record to the second
record in approach, how you'regoing to put it out into the
world?
(14:46):
Um, did you want it to be morein people's faces rather than
kind of just letting people cometo it?
You wanted to push it out more.
EggS (15:05):
It's difficult to say I didn't think about that.
I didn't think about that.
That's what we want is playingmusic before people, before
audience, and more and morethat's what we try to express
(15:29):
with EggS.
And we don't have a plan.
We just want to record ourmusic and try to make a better
song, try to make a better musicevery time we put a record out.
But we don't have a plan to.
(15:50):
We don't want to be a rock star, for example, but that's what
we can expect is playing, maybeall around Europe, for example,
because now we just play inFrance and we hope to have the
(16:14):
opportunity to play in Europe,maybe in the United States and
in Canada, but it's moredifficult for us to come there.
It's very expensive anddifficult for band like us to
find a farm to play there.
But if we can play in Europebecause of this album, it could
(16:38):
be cool.
colleyc (16:40):
Yeah, for sure.
And how have you found thereception of the latest Crafted
Achievement?
How have you found thatreception has been in the world?
Have people liked the record?
What has been the response inyour opinion?
EggS (16:55):
Yeah, the response was pretty good.
When I speak with Howlin" fromBanana or Record Label, he
said to me that most of thepeople who buy the records are
(17:16):
not French but American English,and it's important for
Australians and it's importantfor me, because that means we
manage to produce music whospeak to the people, the
audience, who get used to listento this kind of music, and so
(17:44):
the goal is okay.
colleyc (17:46):
Cool, cool and describe to me your show.
What does EggS look like live?
What happens at your shows?
I know you have several artistson the stage.
Can you walk us through what atypical egg show might feel,
sound like?
EggS (18:06):
I think when I speak with people who sell us, they say
there are these wall of sun, itworks.
So now it works.
It took for us many times tomanage to produce this wall of
(18:31):
sun, but now I think it worksand people have the smile when
they saw us to play, because weexpress a kind of music family,
you know, and that's what Iwanted to produce when I started
EggS, and so when they saw us Ican see in the audience people
(18:59):
smiling and dancing and it's thething very cool in the music,
when you play music and youunderstand that what we try to
produce works directly in mindof the people.
So I think our sound is moreraw on stage, more loud, but you
(19:28):
can hear the voice correctly.
I think we're pretty good yeah,and, charlotte, I'm interested
too.
Like you said, it took a whileto create this wall of sound.
What were some of the keymoments where it started to
happen?
Were you, as a band, you'relike, okay, we're getting there,
we're getting closer to this,this idea that we had?
(19:50):
Do you remember some of thoseoccasions where it was just like
, oh, wow, that's it.
When we started to produce that.
That's what you asked.
colleyc (20:02):
Yeah, like, how did you create that wall of sound as
you described?
EggS (20:06):
Yeah, when we started to make eggs, I think we sounded
more than a UK early indie bandfrom the eighties, you know, uh
like Sarah records with a gentleguitar and um.
But uh, and it was because, uh,the rhythm section we changed
(20:30):
the rhythm section.
For example, grégoire, whoplayed a guitar in eggs, started
as a drummer but it's not hisfirst instrument.
And Rémy came to play the drumand it's a good, he came from
the punk rock, so, and itchanged A little louder, a
(20:55):
little faster, yeah, it changedeverything it changed everything
.
And.
I remember I've read a biographyof Guided by Voices that Robert
Pollard asked when he waslooking for a drummer.
He wanted a punk drummerbecause he wanted to play pop
music with a drummer, music witha post-punk approach, and
(21:21):
that's this idea which definesthe music of EggS, I think,
because when we change therhythm section, and especially
the drummer, when we changed therhythm section, and especially
the drummer, grégoire came backto his natural place, which is
the guitar, and Remy took thedrum.
It changed everything.
(21:45):
that's cool and did everybodyfeel that, like everybody in the
band were like, yeah, totally,totally, and it took just that
little switch just switchingthose two around, yeah that's
really cool.
colleyc (21:55):
That's really cool.
And so what, what, what?
What's the future looking like?
What's 2025 looking like foreggs?
Where are you guys headed andwhat new music you can tell us
about?
EggS (22:05):
that's coming next month we're touring in France across
the front, so it's pretty coolbecause it's a it's a tour.
It's a tour of uh 10 or 11 gigs,so it's pretty cool, it's um we
started to rehearsal new songwith a new approach because, uh,
(22:28):
for, give me a zoom r16, youknow, yeah, and when I said you,
you, I, every song of EggS areriding on a guitar, folk, no, I
started to write the song with,with drum machine, a bass and a
(22:54):
guitar on the R16.
And it changed everythingbecause I can introduce the song
to my fellow with already theidea of the spirit of the song,
the rhythm, the move, the moodof the song, the rhythm, the
(23:15):
move, the mood of the song.
So it's in the songwritingprocess, it goes quickly and
faster to rehearsal and toproduce a song, and so we
started to work like that and Ithink it changed.
So we opt to release maybe anew ep at the end of the year oh
(23:41):
, great, amazing, amazing.
colleyc (23:44):
So the songwriting is evolving quickly then like it's
moving nicely now yoursongwriting process.
EggS (23:50):
You have a pretty good form, yeah and I give me a
challenge because I want towrite uh all the ep and maybe an
lp with a new uh open tuning onmy guitar.
So it's a classic, open to ablues, open tuning, you know,
but I really like this kind ofuh of uh of tuning and it
changed everything in theapproach of the songwriting
(24:13):
amazing amazing and Amazing.
colleyc (24:15):
And how do you like singing in English?
Is that tough to write lyricsin English for you?
EggS (24:22):
No, Writing and singing is pretty easy.
It's pretty hard for me nowbecause I don't practice
every time to speak in English,but I think I have a good
understanding of the english.
I can.
I read many uh book in englishand I I I loved read lyrics, uh,
(24:43):
english lyrics.
So, um, uh, it's very importantfor me to sing in english
sometime.
Sometimes in an interview inFrance, they asked me why don't
you sing in French?
But it's not my musical culture.
As I said, most of the bands Ilike sing in English.
(25:06):
So I need to sing Englishbecause I like the rhythm of the
music and with the language ofthis language, I think it works
better than French.
So that's why I try and Iwanted to write better and
better and better songs inEnglish.
Maybe one day a band that Ireally like made a cover of an
(25:32):
egg song, maybe, maybe.
colleyc (25:35):
Who knows, all of these things are possible.
Yeah, that's great.
Well, shell, this has been alot of fun.
Thanks so much for taking a bitof time out here your evening
your stories are really greatand, uh, I wish you a ton of
success with the EggS formationand the record and touring.
I will will definitely befollowing you in the long run
(25:58):
and keep writing these greatsongs.
I mean this latest record.
Go out and get it peoplelisteners and if you're in
France or UK, go and catch EggSlive.
It sounds like a great show.
So again thanks, this has beena lot of fun.
EggS (26:13):
Thank you, chris.
Thank you very much.
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Therapy Gecko
An unlicensed lizard psychologist travels the universe talking to strangers about absolutely nothing. TO CALL THE GECKO: follow me on https://www.twitch.tv/lyleforever to get a notification for when I am taking calls. I am usually live Mondays, Wednesdays, and Fridays but lately a lot of other times too. I am a gecko.