It was just so much work and so difficult but all the shows were fantastic. We had a tour manager who had never been a tour manager before, and we were just flying by the seat of our pants. If you watch the Live At Town Hall concert film, it seems like we’re really on top of everything-but the tour was complete mayhem. It was quite an ordeal putting it together. Yeah, we really set out to do something unique for that tour by having four string players and having a bunch of acoustic keyboards. Did you feel like those songs deserved special treatment that they wouldn’t have received at a regular Eels show? That tour included strings and some otherwise pretty stripped-down and unconventional instrumentation. You recorded the Live at Town Hall album from the tour behind Blinking Lights. It was a good experience to hear all of it. I really choked up a lot during it, and I was also kind of overwhelmed by thinking about how much hard work we put into it and thinking back about when we were making it. The Blinking Lights one in particular, it really surprised me at what an emotional experience it was for me. Because I have to approve the masters for vinyl, I have to actually listen to the whole albums-and it’s always a case of the first time I’ve heard them since back in the day. How do you feel about revisiting all of this old material?Įverett: Yeah, it’s been a weird thing. Paste: You just reissued four pretty important records from the Eels discography: Blinking Lights and Other Revelations, Hombre Lobo, End Times, and Tomorrow Morning. I caught up with Everett Eels were wrapping up their latest North American tour behind, an extensive run of dates in support of last year’s Extreme Witchcraft, to see if he was able to find any new revelations in those records now that he has put some distance between them and the present. This year, Vagrant Records has reissued four of the band’s albums that came from this fruitful period in Everett’s writing on vinyl-2005’s sprawling double album Blinking Lights and Other Revelations, 2009’s garage-rock-influenced Hombre Lobo, the gorgeously sombre 2010 album End Times and the electronic-leaning project from that same year Tomorrow Morning. In the wake of his revelatory and deeply confessional 1998 album Electro-Shock Blues, Everett (commonly known as E.) began to write about the unspeakable losses he experienced within his immediate family, ushering in a new depth with his writing-a transformation that turned his inner thoughts into bare-bones prose to his listeners, no matter how dark or unflattering they seemed to the author. Given how he has chronicled devastating hardships through his long-running and constantly evolving musical project Eels, you can understand why he tends to focus on pushing forward. Mark Oliver Everett isn’t one to look back.
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