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It’s all part of Everett’s wonderful, glorious plan to reboot, one small step at a time. Total recklessness gives way to cautious reflection. The opening “Bombs Away,” which comes off like Tom Waits heading into one hell of a reckless weekend, contrasts with “I Am Building A Shrine,” a dirge-like meditation on his inevitable death. Everett and his band mix jagged alt-rock and murky swamp-pop with bluesy shuffles and fractured art-rock. Still, Eels’ 10th album doesn’t sound all that different than the ones that preceded it. As he sings on the distorted, bulldozing blues ditty “Peach Blossom,” “You gotta love what’s happening here.” Wonderful, Glorious once again chronicles the everyday struggles of Everett, who’s written about everything from family deaths to his bouts with depression to the long and occasionally bumpy road to recovery. For all of his bleak discourses on suicide, self-doubt, and mental illness over the years, he barely had time for life’s simpler and more carnal pleasures. Between the sex and heartbreak, Everett seemed to have found some sort of balance in his often-twisted existence.
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The 2009-10 triple play of Hombre Loco, End Times, and Tomorrow Morning hit like a torrent of pent-up emotions. Having documented nearly every aspect of his childhood and troubled-artist years on record, as well as in an autobiography, Everett turns the corner on this relatively rosy, but no less ambitious, record that plays like a soundtrack of his post-trilogy life. “I guess you could say that I had issues,” Everett sings on “New Alphabet.” “But it’s looking good, I dug my way out / I’m changing up what the story’s about.” That pretty much sums up Wonderful, Glorious’ worldview. Now that Mark Oliver Everett has put Eels’ trilogy of concept albums about lust, love, and loss behind him, he can get back to what he’s done best over the past 20 years: air out his messed-up life for the whole world to hear. Finding it in Dawes’ nostalgia trip is even rarer. But Laurel Canyon soul is a relative and rare thing. Stories Don’t End picks up the pace a couple of times, most notably in the piercing guitar riff that stabs throughout the otherwise blah “Most People” and in “From The Right Angle,” which features rolling organ, pathfinder piano, and Goldsmith’s snuggest, most soulful vocal. “From A Window Seat” coasts along a shuffling rhythm that recalls Laurel Canyon’s definition of “funky,” “Someone Will” is all finger-picking acoustic blandness, and the title track makes five minutes seem like 15. The opening track, “Just Beneath The Surface,” sounds so much like one of Browne’s forgettable songs from Lawyers In Love that it too becomes instantly forgettable. He mutes rather than warms the band’s cozy tones and rarely encourages Dawes to stray outside of their comfort zone. If anything, King’s stifled production gives Stories Don’t End a stale aftertaste. There’s nothing urgent, groundbreaking, or remotely exciting about it. In fact, the warm smell of weed and the laid-back vibe of pre-Reagan tranquility permeate the record.
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And Stories Don’t End isn’t exactly a big leap forward for Dawes. But Goldsmith isn’t too fond of the retro label, so he packed his band, headed to North Carolina, and enlisted producer Jacquire King–who’s worked with Kings of Leon, Norah Jones, and Tom Waits–to catapult Dawes into the future … or at least into the early ‘80s.īut Kings of Leon, Norah Jones, and even Tom Waits these days aren’t exactly on the cutting edge of new music.
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And they all sound like the past 30-plus years of music passed them by.ĭawes frontman Taylor Goldsmith even pals around with Jackson Browne (who showed up on their second album), giving his Los Angeles-based band a leg up over their peers. They all sound like they’d be right at home snorting coke off a bearskin rug in some Laurel Canyon cabin circa 1975. Who has time to sift through the small differences that separate the Low Anthem from Fleet Foxes from Blitzen Trapper from Middle Brother (a side project formed by members of Dawes, Deer Tick, and Delta Spirit, who all belong here too)? Any one of these bands pretty much fits all of your new-millennium folk-rock needs. It’s gotten to the point where all of the new-millennium folk rockers are hard to tell apart.