As you wade further into Mark Oliver Everett's expansive catalogue, the contrast between musical form and lyrical intent becomes blindingly stark. “Cancer for the Cure” updates ‘60s go-go-dancer grooves for a late-'90s milieu of suicide, smack and grandpas watching porn. Over a decade later, that acerbic sensibility only became more firmly entrenched: 2010's “Paradise Blues” is an upbeat, toe-tapping blues-rock jam—about suicide bombers.