lambchops's Full Review: Levity (Sdtk) by Mark Oliver Everett
I do not consider my appreciation and love for Mark Oliver Everett to be anything but healthy. Sure his past efforts dwelled on dark and often bizarre territory, but it is through him and his music that I have been awarded the opportunity to delve into an entirely different kind of rock/pop/folk/alternative or whatever else you might call it.
Everett has gone by many names. You probably know him better as the singular force behind the Eels, but he has also given the world other music under his other pseudonyms E and MC Honky. Each of Everett’s albums presents a new and enlightening view of the worlds. Some are admittedly better than others with my singular favorite easily being Electro-Shock Blues (the Eels). But with that said, I cherish every moment I have with him and feverishly hunt down his new releases.
Such is the case with what is Everett’s newest work. He has been busy this year. Not only is there this album, the talented singer-songwriter-musician also gave the world the aforementioned creative fictional character MC Honky and the album I Am The Messiah. Next month, Everett will also release his fifth full-length Eels effort Shootenanny! Needless to say, I’m waiting patiently for that one to hit stores.
Everett is not known for being a serious guy. He’s a comic with a knack for putting together incredibly diverse songs, incorporating unexpected instruments, and writing some of the most ridiculously amazing lyrics of the past decade. There is little doubt that he will continue making music, and good music at that.
Late last month, Everett released a new kind of album. In the past, the Eels songs occasionally found a place on the occasional soundtrack (American Beauty, Shrek, The Grinch, The End of Violence) but to date the singer-songwriter has yet to actually do a solo score. This all changed with the release of his score of the limited release film starring Billy Bob Thornton, Morgan Freeman, Holly Hunter and Kirsten Dunst, Levity.
Levity is a different kind of album for Everett. Fans of course are accustomed to the unexpected from their favorite artist but they have never heard anything like this. Everett, aside from two new Eels songs, actually wrote and recorded what amounts to an exceedingly straight album. Now that doesn’t mean that it is mainstream pop or something. Rather, it just means that it is exactly what he intended it to be—and unobtrusive film score. Darkly enchanting and atmospheric instrumentals, Everett’s score illustrates that he can be so much more than a quirky, unclassifiable talent. He is quantifiably wonderful throughout Levity regardless of previous experience with the Eels and E albums.
But as with most scores, the songs are largely instrumental. Of course this is with the intent that the tracks should not drown out dialog or the film as a whole. I, as you may note, am not largely a fan of instrumental tracks. But most of what Everett does on Levity comes across extremely well. Then again, this is coming from a woman who in adores the man in question…so it is clear I am a biased source of information.
Levity flows with grace and emotion. This is one of the talents Everett has honed over the past years. He can with what seems like ease (though I’m sure it is a torturous process) assemble a complete album. The songs are unique snippets, but the overall effect is one that usually borders on brilliance. Levity touches my heart and caresses my soul. It allows me to close my eyes and to drift away to a dark summer night. Even Everett’s instrumentals are tinged with his dark-yet-enlightening perspective on the world.
The bulk of Levity lacks vocals. Beginning with the delicate, fuzzy sounds of What I Remember Most, the album meanders for fourteen tracks in total. Though, with that said the overall length is short at just thirty-five minutes. Then again, the brevity does not allow for listeners to tire of the evocative tracks. Most of the other instrumentals are similarly appealing. And while it is difficult to choose favorites as each certainly has a point or two I particularly appreciate I also do honestly enjoy the childish, delicate dance of Running the Bath in addition to the unnerving Haunted Piano #1, Flashback Blues, and Haunted Organ #1.
But the real gems of Levity are two Eels classics and one titled Sofia Writing in the Sky which is in actuality the instrumental reprisal of Skywriting. And it is Skywriting and Taking a Bath in Rust that are most striking. I attribute my appreciation of these songs to the fact that I have a great admiration for Everett vocals and lyrics alike. His body of work would not be as impressive if not for his poetic touch. Skywriting could have easily appeared on 2000’s Daisies of the Galaxy with the delicate instruments and somewhat optimistic outlook. It is a gorgeous track.
Taking a Bath in Rust also plods along at the same pace. But with the use of an orchestra the song takes on a life far outweighing anything else on the album. Skywriting is certainly the most outwardly appealing, but Taking a Bath in Rust is an incredible track that operates on a variety of levels and in the end demonstrates Everett’s limitless talent.
Levity is a genuine, understated, and intelligent score. There are a number of magnificent elements to the album, but I still cannot find it in myself to rank it among my favorite of Everett’s work. The Eels offerings rank up in the best he has ever written, but the instrumentals are not as clearly brilliant. The joy in his work rests with both his arrangements and lyrics. And an Everett song that lacks his voice is somehow less appealing though unquestionably still beautiful. Levity is a decent score, though if looking to explore Mark Oliver Everett and his work, look elsewhere first.
Rating: 4/5 stars
Track Listing:
1. What I Remember Most
2. Skywriting
3. Running the Bath
4. Gravity
5. Haunted Piano #1
6. In Manual's Room
7. Taking a Bath in Rust
8. Flashback Blues
9. Post-Flashback Blues
10. Lonesome Subway
11. Haunted Organ #1
12. Sofia Writing in the Sky
13. To Adel Easley/Trouble in the Alley
14. Manual's Got a Train to Catch
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