There’s no way other way to dress this up: “End Times” is one depressing album. Yes, Mark Oliver Everett (E) is known for his bitter sweet take on reality and the well documented turbulence that has dogged his life has always been reflected in his music, but “End Times” (as the name would suggest) takes this to a new level, sucking the listener into a vortex of pain that only ends with the last strains of the final track. In short, don’t expect to find any radio crossovers on a par with ‘Mr E’s Beautiful Blues’ here.

The tone of the album is an about turn from the central optimism of Eels last studio album, “Hombre Lobo (12 Songs of Desire)”, released just last summer. Described as a ‘divorce album’, “End Times” needs to be viewed in tandem with “Hombre Lobo” to be fully understood. The two records bookend a relationship: “Hombre Lobo” depicting its optimistic, formative, stages whilst “End Times” focus is the splintering and post relationship aftermath. Viewed in this light, the startlingly bleak and stripped down sound of the album isn’t as shocking as the first listen would suggest. This is definitely a record which needs a third, fourth and fifth listen to fully appreciate its genius.


The distinctive Eels sound of E drawling over hooky guitars, repetitive drumbeats and music lesson percussion instruments is found in a muted form on several occasions, most notably on ‘Mansions of Los Feliz’ and ‘Paradise Blues’. ‘Unhinged’ is also rooted in the classic Eels sound, complete with tambourine and fast guitar chords, yet it still retains a sparse feel. It’s a skinny song which could benefit from a few more musical ‘curves’ (as several celebrity rags would say) to flesh out its bare bones. It’s missing something, just like the girl it describes, and for that inspired reflection alone, it’s the best track on the album (‘Gone Man’ coming a close second).

‘A Line in the Dirt’ is simply heartbreaking. The sparse lyrics complementing the soft beauty of the piano combine to make a classic ballad which seems destined to fill the ‘soft’ quota for late night rock radio shows for years to come. Likewise, ‘In My Younger Days’ drips with the raw pain underpinning the album. A single guitar competes with bizarre space-age, computerized blips which seem to have escaped from a Spielberg film or a Bowie album, circa the Ziggy Stardust years.


E taunts convention and plays with self indulgence with the spoken anecdote, ‘Apple Trees’ and again with ‘High and Lonesome’. One minute and six seconds worth of rain and distant thunderstorm, punctuated with the sound of an unanswered phone call and a knock at the door, perfectly captures the essence of the album: intense yet detached, reminding it’s listener that they are merely witnessing selected thoughts and feelings, not experiencing them in all their true gut wrenching and overwhelming agony.

Thank God, something about the final track, ‘On My Feet’, is redemptive. Whilst still as fraught and traumatic as you’d expect, it looks ahead to at least the expectation of the end to the emotional torment that screams throughout “End Times”, which in view of the rest of the album is a really, really positive revelation.

Despite the above negative spin on the negativity, “End Times” is a very good album. It’s quiet, creeping into your veins and it’s not afraid to push the envelope or compromise it’s concept for the benefit of making new fans, which ultimately, is what makes it brilliant. It’s unashamedly intense and whilst it’s not the best place to start your Eels education, there’s certainly enough here to keep current fans interested and returning to thumb through the layers and mysteries in the ongoing saga of the life of the man known as E. Let’s just hope for his sake, it takes a sunnier turn soon.