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When artists set out to promote a new album, their publicists often encourage them to have “a story.” Mark Oliver Everett, otherwise known as E, frontman and chief songwriter of the band EELS, has a lollapalooza of a tale. His father, Hugh Everett III, developed the Many Worlds Interpretation of Quantum Mechanics. Today, his theory powers the Marvel multiverse and countless other movies, TV shows and novels about parallel worlds, but Everett wasn’t recognized for his work until late in his brief life. He died of a massive heart attack in 1982.
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E, who was 19 then, discovered his father’s body, and, a decade later, endured the deaths of his sister, who committed suicide, and his mother, from cancer. Left without a family, he chronicled his experiences in EELS’ 1998 masterpiece, Electro-Shock Blues, and his inspirational and funny 2008 autobiography, Things the Grandchildren Should Know.
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In 2017, the Everett bloodline rebooted when E became a father at the age of 54. But the story does not end there. Shortly after the band’s post-pandemic Lockdown Hurricane tour, his CT scan revealed an aortic aneurysm, and E underwent open-heart surgery to have it repaired.
The health scare did not curb his creativity. On June 7, EELs released its 15th studio album since forming in 1996 (not counting his two solo records in 1992 and ’93). “After 25 or 30 years, whatever it’s been, our time has finally come. It’s finally EELS time,” he says — which, if you put an exclamation point at the end, is the album’s title.
EELS TIME!
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After a spate of hard-rocking songs, EELS TIME! finds E, now 61, in a contemplative and grateful mindset accentuated with a poppier sound. Below, E discusses the album’s collaborative efforts with All-American Rejects frontman Tyson Ritter, the poignant music video for “Time,” which depicts three generations of the Everett family, and much more.
You’ve experienced quite a lot over the last few years: fatherhood, divorce, open-heart surgery.
It’s always something right? I got used to that a long time ago.
You’ve had quite a lot of experience with mortality. How is dealing with your mortality different from dealing with the deaths of loved ones?
Well, the one thing I don’t have any experience in is hospital experience. I’ve never been in a hospital before, which was a great run. I’m thankful for that. I was in the hospital for a week, so that’s a big deal. It turned out great. I’m totally good as new now.
It’s great that you were staying on top of your health.
It’s the one good thing that came out of my father having a heart attack and dying at 51. Doctors would tell me heart stuff can be very hereditary so keep an eye on stuff. Get scans. Whatever the best scan is technology-wise, get that. It was a CT chest scan that discovered the problem. [My condition] was not related to what happened to my father. It’s a different thing, but it’s still a heart related-thing and it’s only because of his early death that I found out about it.
How did working with Tyson Ritter change your creative process? Did you collaborate in the same room or were you throwing stuff back and forth via email?
It’s funny because we found out we were neighbors and literally live three blocks away from each other. But we did it all remotely. It was still the pandemic and I have a little kid in school. I didn’t want to be the asshole that shuts down his school by getting Covid.
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You also feature on indie-pop artist meija’s “Possum.” How did that come about?
The thing with Tyson started with me singing on a song he did, too. And then the meija thing happened. That just came out of the blue. A mutual friend contacted me and said, “Hey, this guy would really like to have you on a song.” He sent me the song, and I was like, “Oh, this is cool. Yeah, I’ll do it.” I even went so far as to be in the video.
“If I’m Gonna Go Anywhere” is one of my favorite songs on the album. It has a Bobby Gillespie/Primal Scream vibe,
That one is all credit to Tyson, by the way. That’s his musical doing. I’m singing and writing lyrics mostly on that.
In the chorus, you sing that if you’re going anywhere, you’re going “there.” Where is “there”?
There is simply if you have a choice to make, why not make the nice choice. Why not choose love.
“Sweet Smile” is like that, too.
That’s exactly what “Sweet Smile” is about. Sometimes I’ll be walking down the sidewalk and I’ll realize I’m not scowling but I’m not smiling. I’ll think smile. And I’ll smile and it’s weird. It’s like, everything feels better and easier when you smile. With that song, I wanted to to write my version of [The Seekers] “Georgy Girl.” Just a nice, innocent song about walking down the street.
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“We Won’t See Her Like Again” seems to be about someone you lost. I realize not every song is autobiographical, but I’m wondering if you wrote that about your mother or sister, who you lost at a young age.
I wrote that one with Chet from the EELS, and I don’t feel like it was specifically about anybody at the time. A lot of the songs that I’ve done over the years I can’t access if there is a personal experience that I’m writing about. And years later, I’ll look back and go, “Oh, that’s what I was writing about.” I think it’s a coping mechanism that helps me write unfiltered — to not let myself know that I’m disclosing all these things about myself in some cases.
When I hear “I Can’t Believe It’s True,” I’m thinking could E have found love?
Yeah, I’m hoping that song will be one that people will play at their weddings. We’ve had songs go on to become really popular that we never would have thought of as a single at the time they were released. They take on this big life because of being played at weddings or whatever. Really, the inspiration in the back of my mind was thinking about my kid. So, maybe it can be played at weddings and births.
Has your son Archie formed his own band yet?
No, I got him a little drum set because he’s at the exact age that I was when I started playing drums. And I didn’t want to push it on him. He likes to bang around on everything, but he has not shown anywhere near the kind of interest I had in it so far. But that’s fine.
It’s there if he decides he’s into it, but also I think I should probably get him an instrument that would make [him] more money.
In the letter you published on the EELS website a few days ago, you wrote that you almost lost your mind during the first part of the Lockdown Hurricane show. What was overwhelming you?
First of all, I was super jetlagged. Going to Europe overnight; that always makes me crazy. We hadn’t played in almost four years or something because of the pandemic. You might remember the pandemic. So, we finally got out there to play, and it was an extreme culture shock for me because it was the double whammy of being a new father — a new divorced father — during those years of lockdown. I got really used to nobody caring about me. Do you know what I mean? When you’re a father, you’re the last person in the family anyone gives a shit about. Then suddenly, from the first show of the first tour in almost four years, it was like everybody super cared about me and it really fucked with my head. I didn’t know how to process it, and I didn’t know how to act. I don’t get stage fright normally. I’m usually very comfortable being on stage, but I started to have a panic attack right before the first show. For the first week, I was just insane. Then I got my bearings, and it was, “Okay, it’s coming back to me now. I know how to do this.” I’m sure a lot of people have gone through situations like that from being in such an extreme situation during the lockdown years and then being thrown out. Then it was great. It was like, “Oh, people. This is fun.”
Will you be touring behind this album?
I don’t know when we’re going on tour yet. The last one took a lot out of me. It was a good one, and we worked really hard. But since we just went, it might be too soon to go right now. Maybe we’ll go in late summer or the fall. We don’t know yet.
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“Song for You Know Who” is about not repeating the missteps of the past and forgiveness. Is that directed at yourself or someone else?
I’ll never tell. My favorite thing about that song is going to become my least favorite thing about it, too, which is that everyone I know is going to suspect it’s about them. I couldn’t resist calling it that because I just thought, it’s going to drive everybody crazy around me. But I’ll never tell.
The video for “Time” is very poignant and emotional to watch. And having read your book, understanding the sense that you had no family and to see now you do have family, it’s really touching. Did that idea just come to you or was it something that you wanted to do for a long time?
When I wrote and recorded the song I didn’t have the video concept in my mind. It wasn’t until later – I can’t remember what sparked I, but I just thought, “Oh, wait a minute. There’s three verses. We can do photos of my dad in the first verse.” It fits the theme of each verse.
Then the second one where it says, “I’m riding on the train, I’m ready to stop anywhere and see what’s out there,” that’s like young me going into teenage me and EELS me. Then the last verse is about how I want to be here and I don’t want to ever leave because I like being close to the ones I love, and that’s my son.
The beard looks very strong in the “Time” video
That was filmed the day after I came home from our tour, and I couldn’t wait to get rid of the beard. That was my pandemic beard, and I was like, “Oh, we’re finally going on tour. I’ll save it for that. It’ll look cool onstage or whatever.” Then I couldn’t wait to get rid of it by the end of the tour because a beard like that is a lot of maintenance and a lot of work. So I called the director of the video and said, “I’m going to get rid of the beard.” He was like, “No, just keep it for one day after the tour and we’ll shoot it then.” The next day I trimmed it down extensively.
Okay, so you’re not in Fidel Castro territory anymore.
At the moment, no. But it can always come back. It comes back overnight if I want it to. I’ve got a lot of testosterone.
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From Kehlani‘s blissful new single to Ben Platt‘s romantic new album, check out just a few of our favorite new releases from this week below:
Kehlani, “Next 2 U”
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On her latest single from next month’s new album “Crash,” Kehlani is fusing the old and the new. “Next 2 U” is a rare gem in Kehlani’s discography that expertly blends together her well-honed R&B sound with the newer, industrial production elements of her sound to make a grinding-yet-gorgeous new track about dedication. Her vocals remain unparalleled in their effortless grace, and the accompanying music video only further underlines the star’s calls for a free Palestine, making “Next 2 U” a thrilling addition to Kehlani’s already stunning body of work.
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Ben Platt, Honeymind
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For Ben Platt, there’s no need to over complicate things when it comes to love. Honeymind, the Broadway star’s third studio album, sees Platt leaning effortlessly into lush, rich ballads about the nature of his relationship. Pair his voice with buttery strings, simple guitar and bass or even just a piano, and the results come back the same — Platt knows exactly what (and more acurately, who) he is devoted to in this gorgeous new LP.
Romy, “Always Forever”
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Donna Lewis’ 1961 hit “I Love You Always Forever” has already served as the basis for plenty of pop songs — but Romy’s recent interpolation of the track feels instantly electric. “Always Forever” continues Romy’s hot streak since the release of her critically-lauded album Mid Air in 2023, this time turning up the volume on her pop stylings. The rising star spends her verses building up a sense of tension and longing, only to let the iconic melody of Lewis’ track serve as instant gratification on the song’s delirious chorus. “Always Forever” is yet another reminder that when it comes to ecstatic dance music, Romy is the one to watch.
Zolita, Queen of Hearts
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Zolita wants to get real with you — and then, she’d like to dance. On Queen of Hearts, the rising pop singer’s latest LP, Zolita dives deep into the peaks and pitfalls of queer romance, detailing thrilling nights on the town followed by mornings filled with questions and hurt feelings. Spurning that journey along is a set of irresistible, impeccably-produced pop bangers that worm their way into your head and take root, especially on album standout “All Over Again.” If Zolita’s goal was to deliver a stylish, smart album about LGBTQ love just in time for Pride, then consider her mission accomplished.
Dua Saleh feat. Serpentwithfeet, “Unruly”
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We cannot imagine two artists more naturally suited to collaborate with one another than Dua Saleh and Serpentwithfeet. So, when the two linked up on their hypnotic new song “Unruly,” it does not disappoint — the pair’s experimental, otherworldly sounds mesh together into a web of gorgeous, celestial soundscape. It’s a testament to both artists that “Unruly” works as well as it does, instantly elevating the vibe the moment it starts.
Channel Tres, “Cactus Water”
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Summer is here, and Channel Tres would like to celebrate the sweaty season with a sultry new cut of his own. On “Cactus Water,” Tres celebrates hot nights out on the dancefloor, with a kinetic beat and grooving bass backing up his swaggering vocal. After offering to “lick you up, lick you down,” Tres brings the song to an electrifying pinnacle, making it an immediate go-to for your summer playlists.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
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In need of some new tunes from your favorite queer artists? We’ve got your covered. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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From Billie Eilish’s long-awaited new album to Omar Apollo’s moody new single, check out just a few of our favorite releases from this week below:
Billie Eilish, Hit Me Hard and Soft
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With her third studio album, Billie Eilish has made one thing abundantly clear — she’s not slowing down any time soon. Hit Me Hard and Soft feels like a purposeful progression from the unabashed eccentricity of When We All Fall Asleep, and the confessional dreaminess of Happier Than Ever. The 22-year-old star simultaneously embraces her fears (“Chichiro”) and her confidence (“The Greatest”) to thrilling effect with each successive song, while maintaining the vocal flourishes and production flair (courtesy of Finneas) that made her a star to begin with. But the star also takes a more candid look at her sexuality throughout the album, allowing herself to declare that she wants to “eat that girl for lunch” and singing about the unrequited love of the girl she sees “in the back of my mind all the time,” offering a new level of intimacy to an already stunning body of work.
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Omar Apollo, “Dispose of Me”
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Omar Apollo wants to slow it down, and after hearing “Dispose of Me,” you’ll be sure to understand why. This moving R&B ballad serves as a testament to the rising star’s vocal prowess, as he shows off as much of his impressive range as possible. Flowing from flawless falsetto to rumbling baritone, Apollo evokes the heartbreaking feeling the title promises within the first few seconds of this number, making “Dispose of Me” an absolute must-listen for anyone in need of a good cry.
Monét X Change, Grey Rainbow Vol. 1
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The exchange rate just went up with Monét X Change’s stunning new R&B album Grey Rainbow Vol. 1. Throughout the Drag Race winner’s new project, Monét takes control of her own narrative with confessional songwriting about heartbreak (“Streetlight”), sex (“Rotation”) and moving forward (“Grey Rainbow”), all while utilizing her silky-smooth, classically-trained voice to thrilling effect. With part two due out later this year, Grey Rainbow Vol. 1 promises even more excellence from a drag superstar to watch.
VINCINT feat. Adam Lambert, “Another Lover”
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VINCINT and Adam Lambert is the kind of artist pairing that spins your head with even the thought of them collaborating. So it’s all the more thrilling when the final product of that collaboration, “Another Lover,” is even better than you would have imagined. This pounding dance-pop track perfectly utilizes both artists’ stratospheric voices, as VINCINT and Lambert trade sultry verses about their powers of provocative persuasion. By the time you reach the final chorus, where both stars are riffing and running their hearts out over a thrilling beat, you’ll be feeling the ecstasy they keep singing about on this phenomenal pop banger.
Ben Platt feat. Brandy Clark, “Treehouse”
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When you take a Broadway star and pair him with a once-in-a-generation folk singer, you get something magical. Ben Platt and Brandy Clark are a match made in heaven on the stunning new single “Treehouse,” as they duet together on a lovestruck ballad about finding love in all the right places. Neither artist allows the delicate mood to break, keeping their respective voices as tender as possible for this moving ode to building a foundation of love.
Towa Bird, “Time to Pretend” (MGMT cover)
There’s something ingenious about Towa Bird’s Spotify Singles cover of MGMT’s 2007 space-rock jam “Time to Pretend.” Where the original relied on synth arpeggios and electronic distortion, Bird’s version sees the singer embracing her top-tier guitar skills to make a thrilling, markedly-different version of the track. With her own distorted voice filtering through the driving guitar licks that provide the cover its internal engine, Towa Bird takes “Time to Pretend” to a new level on this thrilling new rendition.
Girli, Matriarchy
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Rising alt-pop singer Girli has approximately zero time for bulls–t on her entrancing new album, Matriarchy. Across 14 songs, the singer-songwriter embraces a more electro-pop sound to help her talk about self-love (especially on the immediately arresting “Feel My Feelings”), queer crushes (“Nothing Hurts Like a Girl”) and embracing the fact that sometimes, things are just deeply messy (“Lose My Cool”). For anyone dealing with the harsh realities of learning to be an adult, Matriarchy is absolutely essential.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
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From Camila Cabello and Lil Nas X’s flirty new collaboration to Beabadoobee’s dreamy new single, check out just a few of our favorite releases from this week below:
Camila Cabello feat. Lil Nas X, “He Knows”
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There’s nothing quite like a Friday night out after a stunningly bad week, so Camila Cabello and Lil Nas X decided to bring you an anthem for those unhinged evenings on the town. While “He Knows” continues Cabello’s divisive dance-pop release strategy, the new track takes a few small steps back from “I Luv It,” focusing on a laid-back groove and entrancing vocals rather than a turbocharged beat. And it turns out Lil Nas and Camila make for excellent collaborators, matching one another’s sultry energy with each passing bar to let the boys at the club know that they’re on the prowl.
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Beabadoobee, “Take a Bite”
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Beabadoobee is back, and with “Take a Bite,” she’s sharper than ever. The introspective pop-rock ballad follows Bea Kristi through her own occasionally intrusive thoughts about the grass being greener on the other side of everything — relationships, careers, and everything in between. Her silky voice glides over a simple beat and some sumptuous guitar chords, making “Take a Bite” an excellent return for the singer-songwriter.
Orville Peck, Stampede: Vol. 1
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For his third studio album, Orville Peck is throwing a celebration. On Stampede: Vol. 1, the country crooner is teaming up with stars from all over the spectrum of music to toast their game-changing contributions to country, rock, pop and Americana. Between his excellent duet with Willie Nelson on “Cowboys Are Frequently Secretly Fond of Each Other” and his rollicking rendition with Elton John to “Saturday Night’s Alright (For Fighting),” plus collaborations with Allison Russell, Nathaniel Rateliff and plenty more, Peck proves that he’s more than just a singer with a mask — he’s a world-class curator paying tribute to the stars who helped pave the way for him.
Adam Lambert, “Whataya Want From Me ’24 (White Shadow’s HEmix)”
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It may not seem like 2009 was all that long ago, but plenty has changed in the 15 intervening years. For starters, LGBTQ+ artists didn’t used to feel comfortable singing using their romantic interests’ pronouns. So, Adam Lambert decided to correct the record with a “HEmix” of his 2009 hit “Whataya Want From Me.” Along with bringing in White Shadow to update his classic power ballad with a crunchy EDM beat, Lambert updates one key lyric — instead of singing that “It messed me up/ Need a second to breathe,” the rock singer now declares that “he messed me up.” It might seem like a small update for 2024, but a two-letter word can make all the difference, as Lambert proves on this thrilling remix.
Rainbow Kitten Surprise, Love Hate Music Box
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Since unveiling their debut album in 2013, Rainbow Kitten Surprise has made a career out of refining their familiar indie rock sound. But 11 years in, the band is ready for something different. Enter Love Hate Music Box, a sprawling 22-track LP that throws the band’s established sound out the window, aiming for bolder, brighter sounds in pop, rock, dance and Americana, all while maintaining some of the sharpest songwriting in the group’s history courtesy of frontperson Ela Melo. For just over an hour, Love Hate Music Box promises to make you feel just about everything — and we can confidently say that it delivers on that promise.
Remi Wolf, “Toro”
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Remi Wolf has always excelled at taking hyper-specific, intimate moments and turning them into grade-A pop bangers. “Toro” is no exception to that rule, as Wolf transforms a last-minute, high stakes romantic encounter and turns it into a grooving, deliciously sexy alt-pop jam. With a bass line that refuses to stay still, Wolf lets the audience know exactly what’s up on the instantly-memorable chorus: “We’re waking up the people down the hall/ You’re a bull, and I can’t help but saying ‘Toro, Toro.’”
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below: