Eliot Eidelman

The final installment of his “Jesus Year” trilogy, Eliot Eidelman’s latest album Dangerous veers yet again stylistically from the cosmic Americana of <a href="spotify:album:1SgOym6R10wRoBMCRfvc79" data-name="Silhouette">Silhouette</a> and the psychedelic folk of <a href="spotify:album:1VBS1zo7wpqYrPwA5VR1Jq" data-name="Mrs. Paddiwinkle&#39;s Treats">Mrs. Paddiwinkle&#39;s Treats</a>, now finding him mischievously tinkering in the territory of blues and glam rock. Thematically steeped in malaise, discontent, longing and disillusionment, with occasional glimmers of self-acceptance and freedom, Dangerous is Eliot’s rawest collection to date, yet it never dispenses of the knowing wink made apparent in the album’s cheeky title and artwork.

Recorded in a basement in Tujunga and a tiny house in Los Padres with longtime collaborator Evan Backer (Wand, Cory Hanson, Itasca), Dangerous ties together the scraps that didn’t fit neatly on the first two albums of the trilogy, yet oddly may be the most cohesive collection of the three. A simmering ride with moments of levity and self-caricature embedded in the drama, Dangerous dares to trace a fine line between the painfully cathartic and the playfully absurd.