If Destination: Beautiful had convinced detractors that Mae was overly sentimental and pretentious, then The Everglow certainly wasn’t going to change their minds. I mean, it’s a concept album with an accompanying picture book that opens and closes with a narrator explaining itself, for crying out loud.
But for those of us who had bought-in to their first disc, the follow up was a masterful epic that was a definitive work in every sense.
Where Destination: Beautiful had some absolutely beautiful tracks, it wasn’t always cohesive. It showcased a promising new talent, but a few tracks were simply out of place.
On the other hand, The Everglow is a massive, singular statement, both lyrically and musically. The lyrics tell of a Prodigal Son figure wandering through isolation and self-sabotage and subsequently being welcomed home. And when this record came out, it resonated perfectly in my own life. I had spent two years in a toxic relationship that I knew I should have left. I had gone through a spiritual awakening of sorts and was in the first healthy dating relationship of my life.
Songs like “Mistakes We Knew We Were Making” and captured my last relationship. “Breakdown” and “Ready and Waiting to Fall” were snapshots of the anxiety I carried after two years in an emotionally abusive relationship, where even the good times were tainted by a sense of inevitable doom. “Painless” and “The Sun and the Moon” caught the moments of euphoria that would sweep over me when I would finally let go of my twisted expectations.
Years separated from those moments, The Everglow still hits just as hard. As much sentimentality as it still holds, it packs an immense musical punch. All of the melodicism and instrumental interplay of Destination: Beautiful is still intact, but there’s a heaviness and a depth to the instrumentation that’s completely new. Guitars are thicker than ever before, especially on tracks like “Painless” and “Anything,” which wears its late-era Sunny Day Real Estate influence on its sleeve.
While the entire band pulls their weight, the standout is keyboardist Rob Sweitzer, who spends most of his time on piano this time around. And to great effect. He’s the only instrument on the dramatic “So Far Away,” and the track is not left wanting. He adds subtle but beautiful details to songs like “Cover Me” and “The Everglow.”
Thirteen years later (dang, I’m old), The Everglow still holds up. Its intricate composition and stunning performances make it a timeless and definitive record. It might not stand up against accusations of over-sentimentality or pretentiousness, but if you can get over that sort of snobbery, it’s a rewarding and compelling listen.