By Brad Lopez
By Tom Murphy
By Noah Hubbell
By Inkoo Kang
By Dave Herrerra
By Josiah M. Hesse
By Britt Chester
By Noah Hubbell
Mark Oliver Everett, known to discriminating music fans everywhere as "E," headmaster of the Eels, is the guy everyone wanted to be friends with in high school. Blisteringly smart and deadly funny, he's cool enough for the boys to want to be near him and cuddly enough to make the girls swoon. He's a natural-born smartass, the kind of guy you can craft an inside joke with just minutes after meeting him.
Everett's wry humor is not directed outward, targeting victims at random merely to satisfy the urge to taunt; instead, it's focused inward -- uncomfortably, self-effacingly, and at times bordering on morbidly. It's a textbook case of deferral, in which the smiles hide the pain. He's built his career on it, turning nearly every one of his songs into a therapy session: The Eels catalogue charts a trajectory of pain, tragedy, healing and growth, all with an existentialist embrace of life.
Yes, there's a paradox there, but Everett is comfortable operating within that contradiction. One minute he's joking about British porn, affecting a Cockney accent in a strained falsetto and croaking, "Fancy puttin' it in me bum, guvnah?"; the next he's making a crack about blowing himself away. In both music and conversation, levity in morosity is E's modus operandi; it also appears to be what sustains him.
Born in McLean, Virginia, to Nancy and Hugh Everett III (the latter was widely considered a genius and was responsible for Everett's Many Worlds Theory of Parallel Universes), young E grew up with shitty self-esteem and no real sense of purpose. He left Virginia while in his twenties and moved to Los Angeles, where he began his musical career. He released two albums as a solo act, A Man Called E(1992) and Broken Toy Shop (1993), toured with Tori Amos and scored a hit on alternative radio ("Hello Cruel World") before forming an actual band in 1995.
The following year was a breakthrough one for the now-seasoned musician and the other members of his fledgling three-piece, drummer Butch Norton and bassist Tommy Walter (later replaced by current bassist/synthesizer player Koool G Murder). The Eels' first single, "Novocaine for the Soul," shot up the charts and was in constant rotation on MTV and the alt-rock radio stations; the trio also toured with Luscious Jackson at the height of that band's popularity and snagged a spot on the 1997 Lollapalooza tour. Then everything went to hell.
Everett's father had passed away over a decade earlier. In 1996, his only sibling, Elizabeth, committed suicide, and the next year, his mother was diagnosed with terminal lung cancer. Just like that, his family disappeared. In the midst of what he calls "a very intense and horrific time," he turned to music.
"When that stuff was happening...it never occurred to me to write songs about any of it. One night this lightbulb went on for me, that there was a way for me to deal with all this -- in a way that isn't the normal way to deal with it -- and actually turn it into something positive," he explains. "It gave me something to really be excited and passionate about at a really terrible time of my life. It was such a lifeline for me."
The resulting collection of songs became Electro-Shock Blues, a poignant journey through grief and loss starting with "Elizabeth on the Bathroom Floor," traveling to "Going to Your Funeral" parts one and two, and ending with "P.S. You Rock My World." The record met with some resistance from label brass, who worried that it was too depressing, too personal, too focused on death. Everett stuck to his guns.
"I decided that the story needed to be told, because I felt like it could contribute something in a small way, and something positive could come out of all this tragedy," he says. "It was giving dignity to voices that would never be heard otherwise."
And despite the concerns of both the label and the Eels' management (whose opposition caused the band to change managers), the record's appeal was almost universal. The suits had failed to recognize that anyone who's lost a friend or loved one to disease or suicide seeks shelter in common stories. Finding a kindred spirit brings solace -- despite the fact that what knits you together is heartache.
"I've had so many people tell me that album really helped them," Everett says, his voice humble yet proud. "It wasn't my intention to save the world or anything; my intention was to save myself as much as I could. But it's a great by-product of the whole experience that still, almost daily, when I'm on tour, people are telling me how much that record means to them, because they've been through some sort of similar situation. Because, you know, death happens. It's not that unusual a situation, but people don't want to face it."
But after you've flipped death the bird, picked up the pieces and moseyed on down the road, what comes next? For Everett, all of the answers lie in music.
After Electro-Shock Blues, the Eels recorded and released Daisies of the Galaxy, yet another foray into quirky, attitude-heavy alt-pop, this time with guests Peter Buck of R.E.M. and Grant Lee Phillips. Next came Souljacker, which featured a heavily bearded Everett on the cover and was originally slated for release on September 11, 2001. The release date was pushed back six months, but an album sporting a photo of a man who looked like the Unabomber and bearing a title with "jacker" in it was never going to do terribly well in the post-9/11 climate. After quietly touring to support Souljacker, the band -- now a five-piece, having added violinist Lisa Germano and guitarist Joe Gore -- went into the studio and recorded the Eels' latest, Shootenanny!,in a ten-day sprint last November.