Many have declared this to be Danielle Dax's very best album. While 'Pop Eyes' was a minimalist affair all-round, 'Jesus Egg That Wept' boasts more full-bodied productions. But it's just as equally 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! The only drawback is that this is really a mini-album, with only 7 tracks included and just over 25 minutes in length. I have to say this may not be for everyone as it certainly gets nowhere near the mainstream (Dax would begin making more accessible music following this album; at this point she was a high-profiled underground artist and gaining the attention of the "serious" music press, though had gotten nowhere near commercial radio at this point).Now, I must note here, I have nothing against the Goth scene but it's really just not my thing. And my musical tastes are pretty mainstream, so this is an odd one for my collection as not only is this far from commercial, it often gets tagged as being a Goth album, which I can see why. Certainly doesn't put me off, but I can say that Danielle Dax was never really a Goth and unfortunately some of the Goths - which really made up a big chunk of her audience - turned against her when she later signed to Sire Records in 1988. How dare she, they thought. To them, she was giving in to "commercialism", which really was not the case. However, gimmicky press releases from the Sire label began touting her as the "British Madonna" which couldn't have been more further from the truth if you tried. Take a listen to her 'Blast The Human Flower' and you'll know she really is nothing like Madonna (and I say this as a fan of Madonna, too).'Evil Honky Stomp', a scathing song about black slavery and white supremacy, sounds so jolly when it first kicks in, but the lyrics obviously tell a dark, sinister tale. Beguiling and brilliant, it kicks in with fuzzy guitars against a backdrop of a slowed-down sample of Doctor Isaiah Ross's 'Jukebox Boogie', followed by Dax sneering through the lyrics.'Pariah' is even better! Opening with a tidal wave of electric 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. Depicting a disturbing tale of female immigrants used as prostitutes and slaves, lots of flutes and electronic sounds swirl around Dax's sombre vocal (well, given the subject matter, you could hardly expect it to be anything else).The eclectic genius that is Danielle Dax is also shown on 'Fortune Cheats'. A startling mixture here, beginning with a range of light, tinkling instruments which instantly 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!The swampy tribal stomp of 'Hammerheads' is industrial music at its best and, like 'Fortune Cheats' before it, has Middle Eastern sounds and textures woven into the mix. 'Here Comes The Harvest Buns' is a repeat from 'Pop Eyes', speaking of unwanted pregnancies. Themes of ecology and political ignorance run rife on 'Ostrich', which absolutely rocks and is another of the very best, including a stunning guitar solo from Karl Blake. Things then come to a close following the sparse, compelling production 'The Spoil Factor', which swirls with minimal electronics and a delicate vocal from Dax.As I say on every review I've done on Danielle Dax, her work on each and every one of the tracks is a meticulously produced piece of musical art; this is clearly evident on 'Jesus Egg That Wept'. And this particular album has had more influence among other musical artists than you know! She played most of the instruments herself, too, as well as writing all the songs. This project solidified her profile even further; within just a year or so she had released two highly acclaimed masterpieces, both true works of musical art of the most ethereal kind. Ian Phillips

Great review of this Mini LP,I saw Danielle Dax play in a church hall Highgate area,spellbinding love this Gal,Fond memories of ma youth.....cheers Jonah.

According to me, one of the best & the most innovative album ever made ! it's magic & wild, it's poetic & sensitive, it's synthetic & repetitive...this woman composes and plays all instruments, and her voice is so modulable...this perfect mix of music, vocals and feelings is a real enchantment. So original ! The 80's at their top ! Just listen !...