Pre-Screening: Eels' End Times

Album: End Times

Artist: Eels

Label: Vagrant

Rating: 4.5

The year 2009 was a success for Eels by most measures. Their latest album Hombre Lobo was met with generally favorable reviews, the band received more mainstream exposure, not to mention the record's showing at #19 on our Best of 2009 countdown. So it was generally a surprise to see news in November that Eels would be prepping new album End Times for a January 2010 release. Yes, Hombre Lobo was mostly a concept album, but the theme of desire was not all that experimental in nature-- surely there wasn't enough left in the tank for another high-quality full-length just months later. Well, to be honest, there really wasn't, and it shows on End Times.

With frontman E honing his message in on the trials and tribulations of aging and divorce, it can be imagined that End Times would not be the happiest album. Unfortunately though, the results are more dire than expected. Lost in the emotional muck and mire of an extremely weighty subject matter, E appears weighed down creatively. This lack of creative energy saps the effort of nearly all its enthusiasm or ability to convey an effective message-- indeed a harsh criticism right from the get go, but an unfortunately true one nonetheless. Separate messages in songs at the record's onset like "In My Younger Days" and "Mansions of Los Feliz" get completely caught up in their emotional similarities, and instead, bleed together as one large bout of depression, instead of individual ones. Title track "End Times" even appears to be a last gasp of sorts, and with attention waning by the midpoint, it would be hard to argue otherwise.

On End Times, E fancies himself as a singer-songwriter, a sort of folksy homebody in the vein of a middle-aged Bob Dylan. Maybe this is true. It's surely understandable given his apparent struggle with his 50s being on the horizon. But sadly, under the weight of the staggering depression which consumes nearly every orifice of the album, it's hard to notice this as well. E rarely exudes the confidence one may be used to from him, and instead, acts more like the shy kid in the corner on nearly every song. His confidence seemingly shot, it becomes a stretch to get through slower songs that, if contained on another effort, might otherwise be viewed more favorably. "I Need A Mother" is the ballad you should be paying attention to, yet without a real difference of mood around it, it bleeds unnecessarily into the scenery.

Still, listeners would be amiss to ignore the positives (yes, there are some). "Paradise Blues" is a proactive and emotional number filled with the same sort of energy that pulsed through Hombre Lobo. It also comes at just the right time, finally rescuing the tempo after a string of dangerously slow selections toward the middle of the album. "Unhinged" acts similarly, as a bouncy rock 'n' roll number that has just one downfall-- coming in at only two and a half minutes. End Times' best moment may actually occur in its final track (and not because the album's over). With "On My Feet," E appears to reconcile these extremely difficult issues and feelings both within himself, and with those around him. Finally, after all of the moping and self pity, he gets it. By song's end, you're actually kind of waiting for the next track, to see where he goes from there. Alas, however, the album meets its conclusion.

End Times deals with a lot of issues-- some built-in, and others, not so much. Translating the emotional hardship of coping with age and divorce is not an easy task, so for that E should be given credit. But this does not excuse the lack of execution. It's obvious that E and the band were committed to the task at hand, yet things just never got going. Nowhere on the album are we really forced to be overly attentive. No song sounds like you'd listen to it more than once or twice. And it's biggest issue: Nothing seems to stand out above anything else. It's not these are bad songs. In fact, none are all that intolerable. It's just that none are all that good either. The album is a collection of downtrodden songs, all about a topic we fail to find necessarily uplifting or necessary to add to our listening repertoire. Maybe that's the fault of the listener himself, but if that's the customer, the product has to lend to at least some of its consumers needs. It just wasn't the case here.

Best Track: "Paradise Blues'" (not yet available, but check out "Prizefighter" off of Hombre Lobo)

[Previously on Animal Noises: New Eels, "End Times"]

New Eels, "End Times"

On the doorstep of Eels' newest album, End Times, E has given us another track to go along with "Little Bird" (released in November). Title track "End Times" speaks loudly to the record's self-produced, emotional nature. As mentioned when discussing "Little Bird" a few months back, the direction of End Times appeared to be somber, subdued and lonely. This song speaks to that vibe as well, as a staggering and damaged account of a life. You can check out the new track below. Eels' End Times is out January 19, via Vagrant.

Check out the original track posting at Stereogum (Due to the misguided efforts of those individuals at Chilling Effects, you can just head there to listen to the song instead of here).

[Previously on Animal Noises: Best Albums of 2009: #19, Eels' Hombre Lobo]

Best Albums of 2009: #19, Eels' Hombre Lobo

Rank: #19

Album: Hombre Lobo

Artist: Eels

Label: E Works/Vagrant

Eels' Hombre Lobo was an intrepid concept album, full of jolting ambition, and a coherent, central plot point. Its main theme of desire was followed to the letter, as the man behind Eels, E, spilled his thoughts on wanting and lust, while balancing the imagery of the werewolf motif-- something that may or may not be reflected in the stark contrast in arrangements from track to track. Regardless, the release's alternation is one of its biggest asset, keeping you interested, as you never know what's coming next.

From the jagged, woodsy opener "Prizefighter" to the timid, reserved nature of its successor, "That Look You Give That Guy" and beyond, Hombre Lobo continually changes gears, yet never fails to manage a fluid transition. In comparison to previous Eels works, the album is less gusto, and more raw emotion. Whether sounding loud and jovial, or downtrodden and alone, E presents his point of view with a sweeping sincerity. It's charming in the sense that it never reaches, but rather, just presses the boundaries of what the band can attain. Apparently, from the evidence presented on this record, I'd say those boundaries have begun to disappear completely.

Best Track: "Beginner's Luck"

[Previously on Animal Noises: Best Albums of 2009: #20, The Cave Singers' Welcome Joy]

New Eels, "Little Bird"

Not too far removed from this year's excellent effort, Hombre Lobo, Eels have another album in store already. End Times, from the sound of first single, "Little Bird," appears more subdued and somber than its predecessor. Though not necessarily depressing, the track nevertheless attempts to tug at your heartstrings, harping on lonely, heartsick themes. You can check it out for yourself below if you wish, courtesy of the band for the price of an email. And keep an eye out for End Times, due out January 19th via Vagrant.

[Previously on Animal Noises: Album Review: Eels]

Album Review: Eels

Album: Hombre Lobo

Artist: Eels

Label: E Works/Vagrant

Out: June 2nd

As we continue Reviews Week here at Animal Noises, we'll be talking about Eels' Hombre Lobo, which came out back in early June. Using the Spanish translation for the word "werewolf," the album explores that theme visually, while delving into the emotions that make up desire within the confines of the songs' lyrics. Eels frontman, E, has claimed it to be a concept album about that, and for the most part, it holds true to that mission. Many of the tracks appear to be grasping at straws, or rather, at something wanted, but unable to be attained. While singing, E is distant from his subject, both in joy and sadness, and that separation he's created allows for the successful execution of the concept.

As much as Hombre Lobo stays to a central concept both thematically and lyrically, the accompanying music is another story entirely. Jolting the listener back and forth between slower acoustic numbers, such as E's favorite, "That Look You Give That Guy," to brazen, eccentric burners such as "Lilac Breeze" that breeze through the motions at lightning speeds, the album has no consistency whatsoever in terms of mood. And that may be what I enjoy most of all. Normally I'd be critical of this type of endeavor. Usually described as herky-jerky, or a bit disjointed, I usually look for a collection of songs to fit smoothly together, and only making mood transitions where necessary and appropriate. Yet, Hombre Lobo, with all its adjusting, and literal bipolar nature, comes off as charming, and even necessary for the album.

On top of these differing tempos, styles are also a huge point of positive contrast. One second, E's trotting along at a relaxed pace which could even invoke comparisons to Belle and Sebastian. The next, we see a rock 'n' roll-infused revival session reminiscent of Jimi Hendrix himself. It's enough to cause a double-take upon first, or even second listen. How does any effort carry on for this long while switching on cue, between songs, and still manage a coherent thought? This album's method is the only answer I can come up with, I guess.

Even with these heavier, more electric moments though, one can tell that you're experiencing a very personal piece of work. The bipolar characteristics lend to the plot of the concept. An individual wants for something, and thus acts out in separate, but related fits of joy, rage and sadness. Some are subdued, and some are obviously more bombastic, but overall, each lends itself to the overall picture of desire. It's a tough emotion to handle, and just as difficult to describe. Still, I believe E is effective here in at least carving out some of the details for us, in the hopes of some comprehension.

As many movies as Eels has been featured in, and there have been a lot, the band still manages to stay fairly small-time and under-the-radar. It's a feat none too many artists can accomplish in these days of sensationalism and Next-Big-Thing hype. I commend E for it. However, I do hope it doesn't rob this album from gaining the praise it deserves come end of year for 2009. Hombre Lobo makes no small accomplishment out of itself, grabbing at various textures and sensibilities to convey the same experience and emotion in as many ways as may be possible. And there isn't a reach in sight. If you're interested in anything that will keep you coming back for more, or even just a partially-fun, but most just entertaining record to close out your summer, this could be what you're looking for. Similarities, if you still need any convincing, include The Flaming Lips, Spoon and Wilco.

Rating: 8.0/10

Best Track: "Beginner's Luck"

New Eels Video, "In My Dreams"

Would have posted this yesterday, but when you're working on two blogs (managing one, editing for the other), and a job, it becomes a bit more difficult. Still, better later than never. Eels' new album, Hombre Lobo is a fine release, full of some great bouts of energy and a nice mix of moods and styles. This song, "In My Dreams," may not even be one of the top tracks on the record, and it's still an enjoyable and memorable time, enhanced by the accompanying video. A kooky hipster kid is a werewolf who helps an equally-hip girl find her lost frog. She's never scared of him this entire time. They also hold hands at the end. Odd? A bit. But the video is extremely pleasing from a visual standpoint, so I'd think you'd enjoy checking it out whether you're a fan or not.