"End Times," the latest record from the alternative rock band Eels, defies description. Lyrically, the album is a somber study of failed love; however, the band expresses depressing subject matter through a variety of arrangements. From melancholy solo-guitar songs to more upbeat, bluesy tunes with full instrumentation, the album fuses different styles, all held together by frontman Mark Everett's gruff, talky vocals.
Eels has always been Everett's brainchild, but on "End Times" he takes an even larger role, playing most of the instruments and writing all of the songs. Everett's musical style has changed with every album over the years. The softer, stripped-down arrangements of this newest album are the culmination of a gradual movement away from the more rollicking, electric numbers of past records.
Even the electric songs off of "End Times" have a simpler, smaller feel to them -- a tone that can describe the entire album -- and it suits the subject matter well. Despite the bounce on the acoustic "Mansions of Los Feliz," Everett sings, "Well it's a pretty bad place outside this door/ I could go out there but I don't see what for/ And I'm happy living here in the dark/ On the edge of my mind." The depressing lyrics juxtapose solidly with the cheerier-sounding guitar on this track.
It takes a particular skill to write catchy, upbeat songs with an underlying sadness to them, but Everett pulls it off. His gravelly, raspy voice, while fairly unconventional, is the perfect vehicle for his morose lyrics. His vocal tone cannot be described as beautiful, but it is definitely unique and fitting to his songs.
The lyrics serve as the focal point of the album. Much of the music seems to be there only as an accompaniment for the vocals, and at times this lack of emphasis leads to almost no overall musical hooks to pull in the listener. Some songs are no more than a set of rotating chords underneath a simple verse/chorus form. While this simplistic format isn't unheard of for rock music, the album struggles to hold the listener's interest without some variation. It should come as no surprise, then, that nine of the 14 tracks clock in at less than three minutes.
With simple, repetitive music, the burden of carrying the album falls on the vocals, but even the singing often lacks strong melodies. If nothing else, some dramatic dynamics with the singing would keep the songs engaging, but Everett's delivery remains laid-back for the entire album.
One standout track is "Paradise Blues." While the song follows a standard blues progression, the growling electric guitar, variation in dynamics and unabashed shrieking falsetto evoke the Eels of old. Dark themes have always pervaded Everett's music, but more light-hearted, fun music from past work is in short supply on "End Times." A few more of these types of songs could have given the album a much needed shot in the arm.
The stripped down arrangements obviously represent a deliberate artistic choice, and they do have their merits. Bittersweet songs like "Little Bird" do well with the simple instrumentation as Everett's voice has no competition, and the lyrics can jump forward. His songs strive for honesty and often contain some humorous observations, such as in "Nowadays," when he wryly observes, "The truth is something no one really wants to hear you say/ Just how you doin' and have a nice day."
For Eels fans and anyone looking for an idiosyncratic, if fairly depressed singer-songwriter, "End Times" has something to offer. The album is nothing revolutionary, but it has its moments. Considering previous albums, it's a bit of a shame that the easiest way to describe this latest release is "not bad."
