Eels
Daisies Of The Galaxy

THE REVIEW

After the funereal and decadent atmospheres that characterized their previous albums, the Eels, Mark Oliver Everett's personal creation, returned to the music scene in 2000 with "Daisies of the Galaxy," today considered one of their best records.

Supported by the faithful drummer Butch and with the intervention of some luxury guests further enriching his work, including Peter Buck (REM) and Grant Lee Phillips (former deus ex machina of Grant Lee Buffalo), our hero delves into the intricacies of acoustic folk while winking at the most intense pop and country. The results of these explorations are 14 gems (actually 15, but we'll see later why) of disarming fragility and beauty.

The album opens with "Grace Kelly Blues," a melancholic folk tinged with blues, with E's voice prominently featured, counterpointed by brass and a clear electric guitar played with finesse, which makes the piece even more fluid. "Packing Blankets" is a gentle acoustic watercolor, of great impact, finding the ideal companion in the Hammond, for a piece that is both compelling and introspective. "The Sound of Fear" is introduced by a dark bass line, soon joined by Butch's compelling drumming. A captivating track, also thanks to the vocal performance of the leader, supported by the great Grant Lee Phillips on backing vocals.
Simply stunning is "I Like Birds," played entirely on pauses and restarts, and it's impossible not to tap your foot to the rhythm. The tones and rhythms slow down in the splendid "Daisies of the Galaxy," a ballad capable of moving even the most insensitive, thanks to a crystal-clear melody and E's ever more expressive voice, the true strength of the entire album, this time accompanied by strings that make it even more dreamlike.

Decidedly atypical, however, is "Flyswater," a rock song introduced by a very catchy xylophone that forms its backbone, with the other instruments blending well, especially the drums. Despite the title, "It's a Motherfucker" is a gentle ballad for voice and piano with the addition of strings only. Perhaps the most singer-songwriter-like track on the entire album, a worthy example of Everett's compositional and interpretive talent. Brief yet intense is "Estate Sale," an instrumental that once again has the piano as the sole protagonist, leading into "Tiger in My Tank." This time, more emphasis is given to Butch's varied drumming, which starts alone and muted but explodes in full force during the track, making it one of the most engaging and catchy songs on the entire CD. The use of brass and xylophone for a truly schizoid finale is also amusing.
At this point, we slip into almost jazzy atmospheres, as in "A Daisy Through Concrete," which sees Butch playing his instrument with brushes while the Hammond, more fluid and clear than ever, enjoys improvising. We return to more relaxed rhythms with the next "Jeannie's Diary" and "Wooden Nickels," for acoustic guitar and voice alone, helped on this occasion by another intervention from the Hammond and strings. "Something is Sacred" reprises previous themes, enriching them even more with melody and lyricism, as does the subsequent "Selective Memory," yet another track based entirely on the use of piano and voice.

The album concludes with a bonus track, a captivating song where the sounds become even dirtier and more distorted, yet without losing the taste for melody, a worthy seal of a truly successful album. This Eels album is truly wonderful, characterized by soft colors and dreamlike atmospheres capable of moving and making the listener dream, capturing them with its sweetness. Engaging yet at the same time moving. A pearl of rare beauty.

An absolute must-have.