Being Dead’s EELS is a triumph in pushing the boundaries of surf rock. It’s a fascinating album full of experimentation and introspection. Released just over a year after their debut, it’s impressive to see how quickly the Austin-based band has returned with a 16-track offering, brimming with creativity and diversity. Known for their blend of surf rock and psychedelic flourishes, the album continues to explore colorful storytelling but showcases the band’s deeper, more reflective side alongside their usual comedic undertones.

The vocals are perhaps the album’s most captivating element. The band effortlessly blends masculine and feminine harmonies, elevating the vocals to the level of an instrument in its own right. One prime example of this is “Van Goes,” a song about disillusionment with a dream job that perfectly captures a sense of frustration. The repeated line “How do you like it now?” followed by an escalating “Uhhhhhhhhh!” turns frustration into something amusing and infectious. Throughout the album, they frequently harmonize on sounds—like “Uhhhh,” “Oh Oh,” and “La La”—adding layers to the vocals and creating a rich sonic texture.

Blanket of my Bones begins as a quintessential surf rock track but soon reveals deeper lyrical layers with lines like “To dream me like a distant sleep / to cush me like the boundless sea.” The song’s closing moments slow down, accompanied by ticking clocks, chimes, and echoing vocals, evoking a sense of vulnerability and reflection. This is a recurring theme on the album, where Being Dead isn’t afraid to get introspective, balancing light-heartedness with moments of emotional weight.

Tracks like Firefighters and Dragons II harken back to the surf rock sound of their first album. Both songs excel at storytelling through concise yet vivid lyrics, allowing the band to stay true to their sound while also experimenting with new forms. Their ability to weave a narrative in such few words is a testament to their songwriting talent, demonstrating their abilities as artists.

A standout moment of experimentation is Gazing at Footwear, where the band crafts a murky, atmospheric soundscape. The lyrics, “face underwater, hiding from view / smash it together, pastures of blue / gazing at footwear, looking for you,” feel abstract and distant, as if the listener is submerged with the singer. It’s a moment of ambiguity and subtlety that shows Being Dead’s willingness to stretch beyond the expected.

The one-minute track I Was A Tunnel arrives at the end of Love Machine, forming a stunning transition from a poppy love song to a darker, introspective piece. With echoing vocals and sparse guitar, I Was A Tunnel delivers emotionally raw lyrics, “you were darkness and you were nothing you were existing,” building up to a scream that stretches through the metaphorical tunnel in the song’s title.

On EELS, Being Dead isn’t afraid to experiment with song lengths, tempos, and moods. The album is a kaleidoscope of sounds, from playful, humorous moments to gut-punching emotional truths. This album is a rewarding journey that grows deeper with each listen. Being Dead has much to offer with their latest work.The band release EELS ON September 27th via Bayonet Records (Beach Fossils).

Pre-order EELS by Being Dead HERE