Eels - End Times (2010)

Review By Andreas Heuer

Eels founder and leader Mark Oliver Everett, aka E, has been part of quite the life journey. Documented personally over the course of (now) eight Eels albums, two solo albums and an autobiography entitled; Things the Grandchildren Should Know, E seems to have been surrounded by a magnetic attraction to life's miseries. 

Death, failed relationships, and a troubled world falling apart.

Basically a personal life reading like that of a Shakespearian tragedy. One of such gigantic proportions, Shakespeare himself would not have had the know-how or audacity to pen it.

The guy really needs a break; maybe a warm hug from everyone on the planet and a bit of good luck would help lift the guy's spirits. 

But if that were the case, I fear the world would be deprived of the Eels beautifully structured, uplifting yet melancholy music – and that would be a great loss.

Whilst gracing our lives less than a year ago with 2009's "Hombre Lobo" – a somewhat detached, less personal affair from previous Eels records - the Eels of 2010 are back to the emotionally driven and highly personal nature of 1998's "Electro Shock Blues".

At times sounding upbeat and rocking "End Times", as the title would suggest, also possesses a clear and overwhelming sense of sadness and loss.

It's raw energy and passion reflects the sounds of someone locked away from the world, full of pain, hurt, regret and reflection.

These are all themes Eels have successfully relied upon in the past, but never quite this personally. "End Times" is a breakup album. It is emotionally draining, honest, touching, and something many can relate to emphatically.

Opening with the rightfully placed The Beginning, E introduces us to the story stating "Everything is beautiful and free in the beginning".

Whilst musically it is a sombre sounding piece coupled with optimistic lyrics, the roles are soon reversed. Gone Man brings the uplifting, foot tapping catchiness the Eels do so well by announcing abruptly; "She used to love me, but it's over now".

As a concept album, the story of the our protagonist unfolds over its 14 tracks. We are taken through a roller-coaster of emotions and thought processes.

In my Younger Days reflects how a younger person may have dealt and worked through a trying situation differently, whilst Mansions of Los Feliz is our story's first glimmer of hope. Set to a cheerfully strummed guitar, it is typical Eels and an early highlight.

This is soon thwarted as the next track, 'A Line in the Dirt' - set to a deep and moving piano - it reveals an inevitable separation bound to take place. This seperation evenuates on 'End Times' which pretty much speaking for itself.

This may all sound horribly harrowing and depressing, and in truth a vast majority of the album is. But the beauty and brilliance of Eels is their ability to maintain a high level of addictiveness through intelligent musicianship and lyrics, coupled with the rarer ability of making the saddest of situations sound optimistic.

Although, like previous Eels releases, "End Times" works best as a whole, it is the album's outstanding highlight Little Bird, which typifies the overall feel of the record. Sung over a simply beautiful guitar progression, E lays it all down:

Little Bird hopping on my porch.
I know it sounds kinda sad, what’s it all for?
Right now you’re the only friend I have in the world
I just can’t take how very much… God damn… I miss that girl

With the album's title as final and bleak as it is, we can only hope it isn't a literal translation for future Eels recordings.

Whilst "End Times" may not be the most optimistic and cheery record, it is heartfelt and deep. It is an honest insight into the emotions surrounding despair and loss, and completely unique for it's earnestness.

Once again Eels have successfully moved us, and despite the album's sadness, we are still left with an unflinching message of reassurance that somehow, someday, everything will be ok.

RATING: 5 out of 5

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