Being Dead – ‘EELS’ album review: a classic on too much caffeine
THE SKINNY: It all began while working at a Cinnabon for the Texan trio of Falcon B*tch, Gumball and Ricky Moto. Back then they were just trying to pass the time, experimenting with micro-dosing and dreaming up stark desert landscapes. Now, onto their second album and riding high on relative acclaim, Being Dead manage to retain a sense of that playful spirit and budding friendship in their distinct sound.
Throughout EELS there is an unrefined sense of fucking around in a garage—in the best possible way. Each song explores about 15 different melodies and modes as the three-piece veer from sweet Alvvays choruses to sudden Kingsmen proto-punk at the drop of a tab. In this manner, the record feels decidedly contemporary, unfurling like the content avalanche of ‘the algorithm’ turned into art.
By the same token, this does mean that there are moments where you embrace a magical turn-of-events in the mix only to be grasping a memory mere seconds later as the band excitedly channel their next influence. They live and die by this hotfooting method on EELS, blurring the line between a classic indie mixtape and an art collage. One moment bleeds into the next offering a rollercoaster of cool musical history embalmed in one mad jam.
At 16 songs, this can be taxing. Alas, they always have a lifeline to spare you from being lost in an oblivion of middle eights, conjuring affecting hooks on a whim that arrest your attention once more—once again, much like the overruling algorithm. Above all, the very jovial spirit of the band also dances you along on this ride. They’re a group in the old school sense, and you’re happy for them.
In an age where it’s difficult to find new ways to make the same old 12 notes waltz to a new tune, there are great bands who you worry for nevertheless, wondering how far they can make their one great idea stretch. Being Dead have so many ideas up their sleeves, the potentialities are endless. But perhaps on EELS, there are simply one too many ideas to ever make it their masterpiece—not that you ever imagine they were trying to achieve that just yet; right now, they’re just having fun. And its a joy to watch.
For fans of: Skipping through the perfect indie mixtape after every 30 second snippet while doom-scrolling through an Adam Curtis-heavy algorithm.
A concluding comment from the ghost of Richard Nixon: “Drugs have, indeed, bent the mind of this nation, turning our younglings into screen obsessed dilettantes with goldfish minds.”
EELS track by track:
Release Date: September 27th | Label: Bayonet Records | Producer: John Congleton
‘Godzilla Rises’: A muted strumming makes it seem like the words “when routine bites hard” are about to ring out, but Being Dead spin those familiar notes out in a surf rock direction, crafting a tale about trust, boundaries and Godzilla. [3.5/5]
‘Van Goes’: A scuzzier, more experimental affair, ‘Van Goes’ explores the darker hues of the band. Reminiscent of early Warpaint, there is a density to the brooding minimalist rhythm. Meanwhile, the duetting proves captivating. [3.5/5]
‘Blanket of my Bone’: A classic garage rock echo chamber perfectly whisks up skating vibes as the band chant and waver around with various melodies. This waltzing, ever-changing sound typifies the band and excitable ways. [4/5]
‘Problems’: Sitting somewhere between the early 1960s and early 2010s indie, ‘Problems’ disassembles Phil Spector’s wall of sound, and texturises simple garage rock riffage into captivating tale of parties and problems. [3.5/5]
‘Firefighters’: A heavier cut, the guitar work is amplified and allowed its first true solo. However, as is firmly established at this stage, you shouldn’t expect that to last too long before a sweet bop-ba-ba middle eight adds sprinkles sugar onto the olives. That simply too testing of a combination. [2.5/5]
‘Dragons II’: A distant eeriness – a sound that Daniel Johnston mastered – dominates the mix for this quiet acoustic effort. It’s a comedown moment that reflects on the fact you can outrun life’s hardship on a steed of fantasy. It’s a heart-wrenching piece that makes a claim for the band’s juxtaposed shared vocals being the finest around. [4.5/5]
‘Nightvision’: Much more consistent in its composition, ‘Nightvision’ feels like a drive through the dark with just a hint of behind the weariness kicking in. Ultimately, it reveals why the band waver so much: they clearly come across gorgeous hooks with utter ease. [4.5/5]
‘Gazing at Footwear’: A mellow, moody build, gathers towards the band experimenting with more ways to present their sound. It sounds like an R.E.M. song channelled by a medium via a theremin. Certainly interesting albeit impenetrable. [3/5]
‘Big Bovine’: The song seems to go through about five time signatures. Which is grand. Particularly considering it still feels distinctly like an indie song. But arriving after eight songs that have already flitted around more than a fly trying to get through a closed window, with seven songs yet to come, it might prove a bit much for some. [3/5]
‘Storybook Bay’: Sounding not unlike modern era Strokes had the New York band been lobotomised, this promising 33 second experiment is EELS in a nut shell. [3.5/5]
‘Ballerina’: No, no unfortunately, this pummelling bass and B-52s mania is simply too far the wrong side of annoying. [1.5/5]
‘Rock b’ Roll Hurts’: “Rock ‘n’ roll will hurt your soul,” the band sing with a giggle—paradoxically affirming the point that engaging in creativity offers comic catharsis. It’s that sense of joy that makes this odd band so hard not to admire. [3.5/5]
‘Love Machine’: “Don’t you know that I’m crazy for you,” hits with a sweetness that showcases the band’s handy knack of throwing in arresting moments that grab you back into the manic melee of sound. It’s a love song like few others. [3.5/5]
‘I Was A Tunnel’: Somewhere down the line for Being Dead lies a crushing, haunting record on loss. This one-minute track proves it will be a masterpiece. [4/5]
‘Goodnight’: Quilted and pillow-propped, the echo drenched world of ‘Goodnight’ is one of a darkened room, lit by a lava lamp and phone screen. The orchestration is less manic and more purposeful, as the tracks builds more traditionally towards an intricate and invigorating crescendo. [4.5/5]
‘Lilypad Lane’: Another of the record’s mini codas; the band are certainly in no shortage of differing soundscapes. Once again though, it proves the future is bright for Being Dead, as there are about 10,000 directions they could go in. [4/5]
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