Meet The Eels - Eels Album Review

Eels

Album Review

It is usually around this time of year that public tolerance starts to wane for greatest hits releases, representing nostalgic back-gazing over past glories. However, exceptions can be made and that is likely to be the case with this celebration of ten years (1996-2006) of Mark Everett led, melancholic, eccentric and colourful indie dirge producing from The Eels. Novocaine For The Soul, on its own provides a reminder of Everett's lyrical pounce and mood-bending instrumental jangling. Raw emotion and tenderness make a rare meeting in a song that has harvested recognition and respect. This is a band that has to be witnessed live, in order to fully understand their chemistry, ethos and passion for their medium.

The most British song written by the Virginia born Everret, Your Lucky Day In Hell shows why he is, for many, an American Morrissey. One thing that stands out is the way that it is difficult to notice any real difference in songs produced over a decade, despite the many line-up changes that makes Chelsea seem like a stable unit. This could easily stand alone as a standard album, given the timeless nature and well built structure to each of the songs that have an evergreen quality.

Back-to-back flighty, unbridled pop in the form of 3 Speed and the electro spasm containing Last Stop; This Town, draws out a lesser seen ability to turn misery on its head and draw it out with colourful instrumentalism. Add to this Everett's stern, worldly and endearingly husky vocal parade. Prize plum from 2000's Daisies Of The Galaxy full-length, I Like Birds was probably the 1st and most quirkiest alternative love song of the millennium;

I can't stand in line at the store.
The mean little people are such a bore.
But it's alright if you act like a turd.
Cause I like Birds.

The song choice on this album is impeccable, given that this collection could easily have contained double the 22 tracks on offer and, would probably have needed to in order to include everybody's favourites. Equal exposure is given to the grass roots troubled indie base, electro leanings and the band's more empirical nature. Everett's slightly philistine side is represented through Get Your Freak On, in bold and defiant measures, drawing out the more off-kilter leanings.

Freshness is provided in the acoustic with strings, live rendition of the loved up and even more tenderized, Dirty Girl. Dusty Dylan-esque reflection pours out of Railroad Man, highlighting the fact that The Eels stand for gritty honesty, more than anything else. Meet The Eels by no means represents the end for this evergreen outfit and truly serves as a reminder of their ability to adapt, yet maintain their uniqueness at the same time.

David Adair