The Eels tasted massive success in the mid-nineties when the album Beautiful Freak sold millions on both sides of the Atlantic. Marc Cameron speaks to the lead singer E about the bands success and their recent gigs in the UK.

How were the gigs at the Albert Hall and Apollo?
They were good and the acoustics worked surprisingly well. We'd been tipped off ahead of time about the Albert Hall's reputation as very cavernous sounding. I actually went out around the hall's different sections to check out how it sounded and we got it dialled in pretty good. We ended up really liking how we sounded on stage. We really liked the echo and it was cool to hear it bouncing back at us.

What was the feeling like when you broke the UK in the mid-nineties with Beautiful Freak and the single Novocaine for the Soul?
Whatever happens in terms of commercial success is so hard to notice it because you're so busy working during in that period. You just go along with what you've got to do during the day. If there was anything to enjoy, I missed it. I was to busy working to enjoy it.

Why do you think that album was so commercially successful?
It is kind of surprising looking back now. That must have been our little moment. The people around me seemed to be interested in the goal being to get the biggest audience and sell as many records as possible, so I realised beforehand that the album might be part of that world.
I also realised that I didn't like being part of that world. So I decided quickly that I would have to evolve. This meant trying to become a better artist and make the best record I could make instead of selling the most records.
I'm not going to humiliate myself to get as many of Gwen Stefani's fans as possible. That's what the record companies tell you to do. It's a really terrible thing when you start trying to make a song in mind for someone that's going to buy it.

Has your attitude caused you a lot of problems with the record company?
The moment I made the decision to have a different goal to all these other people I set myself up for a lot of hardships. But I'm really glad I did and I don't regret it at all. It's not an easy life and not for the weak willed whatsoever. If you're lucky enough to have a strong vision and there's something you want to make, you're also unlucky enough to face daily and constant battles.

When you took the risk of moving to LA did you think you could make it as a successful musician?
No. That's what's great about the way things have turned out for me. I'm really incredibly lucky that not only am I one of those lucky people that can do what I want to do and make a living out of it, I am also someone who gets to be just himself doing it. I'm not making a fool of myself doing things I've been told to do.

Was the LA music scene helpful in getting you a record deal?
It did lead to something which is amazing. I used to live in Virginia on the other side of America which is three thousand miles away. I didn't know what I was doing with my life and felt I had to go to either New York or LA to get my music heard. I picked LA because it was further away. Looking back it was crazy because I drove across the country and when I arrived I didn't know a single person in California. It was really hard and for three years I had a miserable existence. I had a shitty job and I'd work on a song the night before then go to the shitty job then come home and work on the music. I did that obsessively and didn't have a social life.
What was good about moving was that I did start to meet people that worked in the music industry. Eventually, after being rejected a lot somebody did respond and I had never even played live! I got the record deal based on my material on some four track tapes.

What have been your key musical influences?
All the usual suspects. Bob Dylan, John Lennon and Tom Waits have all inspired me to stretch and think philosophically by applying their ways of thinking to my world. You have to think about how they thought in key moments in their careers and apply it to your world.

How did your collaboration with REM's Peter Buck on the album 'Daisies of the Galaxy' come about?
I met him at Neil Young's house. I was there because we played at the Bridge school concert he has every year and he invites all the performers to his house for a BBQ the day before the concert. Peter Buck came up to me and said he liked our music and would like to collaborate. He came through town on the way to a REM sound check and we quickly clicked and started record something in my basement.

Are you someone who has tried to stay away from a glamorous lifestyle?
I'm just not comfortable with all that stuff. Although I'll go to Neil Young's house any day of the week!

What have been your key musical influences?
Now that Tom Waits has called, next I'm expecting Bob Dylan to call (he laughs).

What inspired you to set up the Eels orchestra in 2000?
With the Eels every concert we do is usually different to the tour before.
It's always a problem changing all the time because of people who don't like change, which flies in the face of all things that life is about. I have a natural aversion to change and would like a routine but I also realise it's the key to life and you've got to roll with it.

What was it like working with Wim Wenders on the video for Soul Jacker Part 1?
I did a song for his film the 'End of Violence' and then he was writing a movie that he wanted me to star in. While we were in touch during this period he said he'd like to film an Eels video.
He said: "I want you to fly out to East Berlin and we're going to film in an abandoned prison and the inmates are the Eels and a hundred cute German female teenagers. I said, it's not exactly 'Wings of Desire', but ok, who am I to argue with Wim Wenders!

What is the stand out moment of your career?
I think the Albert Hall was definitely one of them. You think of all your heroes that have stood where you're standing before you and especially when you look at all the pictures on the walls. Though sometimes it's a bad idea to look at that stuff because it makes you nervous. I recently played at the Town Hall in New York. I made the mistake of looking at the pictures of Nina Simone and Bob Dylan, and you say to yourself 'and now it's me'. So you have a lot to live up to.