End Times, Eels’ self-described “divorce” album—released a mere seven months after Hombre Lobo—overcomes its thorny conceit to succeed as a modest triumph. Sure, the premise of an introspective, morose Eels album feels redundant given the band’s exhaustive oeuvre of sad-sack ballads and mopey rockers. Yet Eels, which is primarily the outlet of singer/songwriter E (Mark […]