The gamecock. (Columbia, S.C.) 1908-2006, January 31, 2005, Page 7, Image 7
T T I 1 1% /TT^T THEY SAID IT
U 1 U J % /■ I “But I’d rather be working for a paycheck then
Page 7 I I I 1 i I I waiting to win the lottery."
^ ’ BRIGHT EYES
. .
Oberst finds spotlight
after long road’s travel
Indie-rock darling releases albums simultaneously, each having
separate concepts while holding true to critically acclaimed formula
“Digital Ash in a Digital Urn”
“I’m Wide Awake, It's
Morning”
Bright Eyes
★★★★ out of ☆☆☆☆☆
BySHANATILL
THE GAMECOCK
At only 24, Conor Oberst, a.k.a
Bright Eyes, has been hailed as the neo
Bob Dylan and Gram Parsons of our
time. However, the hype surrounding
Oberst’s new celebrity might come a bit
premature. Dylan, perhaps the most
acclaimed songwriter in music history,
fathered folk-rock with an emphasis on
being an eye of the people. Gram Parsons
is responsible for the genre of alt-country
as we know it today. Without him, there
would have been no Uncle Tupelo or
Whiskeytown. While Oberst contains
the qualities of becoming legendary in
his own right, these are gigantic shoes to
fill. Aside from the sheer magnitude of
such comparisons, Oberst is well-known
for being a docile contributor to the
music world. He sings of whar it’s like
live in a society of disenchanted youth.
Music history can recollect other meek
rock musicians who entered the world of
fame too early. Icons like Kurt Cobain
and Jeff Buckley were extremely averse to
the celebrity world and its pressures.
With an astounding rate of sales from
the simultaneous Feb. 25 releases of
"I’m Wide Awake, It’s Morning" and
"Digital Ash in a Digital Urn” many
listeners and critics alike will be able to
judge for themselves whether this indie
rocker from Nebraska lives up to the
presumably premature hype.
While legions of indie-rock fans
clamor for Bright Eyes’ latest tales of
dismal reality and love astray, they must
be forewarned: The double album
releases reveal a new side of Oberst. For
those who think they know all there is to
know simply from Oberst’s perpetual
( soul-bearing in every self-deprecating
lyric, this might come as a revelation.
Nonetheless, the Saddle Creek Records
releases, Digital Ash in a Digital Urn"
and I m Wide Awake, It’s Morning,"
provide a glimpse at a more mature
Oberst experimenting with synth lines
and Casio beats.
In what will be more consistently
labeled the alt-country album of the duo,
"I’m Wide Awake, It’s Morning," opens
with a spoken anecdote about a woman
on an airplane as it’s crashing. The track
"At the Bottom of Everything" then veers
into a carpe diem discourse warning, "We
must take all of the medicines too
expensive now to sell, set 4are to the
preacher who is promising us to hell."
Countering Oberst’s sing-song approach,
Jim James, vocalist of Bonnaroo darlings
My Morning Jacket, adds a tone of
haunting mortality with the esoteric,
country ache in his backing vocals.
To further validate Oberst’s alt
country chops, he enlists the help of well
established names such as Emmylou
Harris and Mike Mogis. Harris
harmonizes with Oberst in the backdrop
of three songs: "We are Nowhere and It’s
Now," "Another Travelin’ Song," and
"Landlocked Blues." Mogis, producer of
Presto! Recording Studios in Lincoln,
Neb., not only helps in the production
process but supplies the pedal steel and
mandolin for several tracks.
Fans can rest assured Oberst has not
abandoned the forlorn laments he has
trademarked with his gutturally aching
voice. On "I’m Wide Awake, It’s
Morning," Oberst shows he has not
wavered from a tried-and-true formula.
The country twinge of this album only
accentuates the anthems of loneliness.
This formula would not be so appealing
without Oberst’s penchant for
songwriting. Writing lyrics that bear his
soul upon his sleeve produces a sincerity
few others can touch. His politically
charged songs contribute to his moniker
as a true voice of society, and his
mastering of the couplet adds a certain
ease to each lyric.
On the track "Landlocked Blues,"
Oberst declares, "And our freedom’s a
joke, we’re just taking a piss. And the
whole world must watch the sad comic
display, if you’re still free start running
away."
Oberst portrays the escapism of
society’s youth on "Lua." He sings,
"We might die from medication but we
sure killed alt the pain. But what was
normal in the evening by the morning
seems insane."
In extreme contrast, "I’m Wide
Awake, It’s Morning," also reveals an
Oberst who has matured along with the
progression of his earlier albums. On one
track, Oberst expresses unabashed hope
for a romantic relationship. On the
acoustically driven song, "First Day of
My Life," Oberst romanticizes, "But
now I don’t care, I could go anywhere
with you and I’d probably be happy. But
I’d rather be working for a paycheck then
waiting to win the lottery. Besides maybe
this time it’s different, I mean I really
think you like me."
This alt-country half of the double
release shows obvious progression in
Oberst’s style. His instrumentation is
more disciplined, and his songwriting is
better adapted to this more refined
sound. It seems as though Oberst is even
eager to prove this point, as he has added
re-recorded tracks to "I’m Wide Awake,
It’s Morning." Listeners might perceive
the renditions markedly improved, as
Oberst’s maturity adds an additional
dimension.
The other half of the simultaneously
released albums is "Digital Ash in a
Digital Urn," which can be best
understood as a whole ‘nother beast. In
what is seemingly an attempt to be less
vulnerable, Oberst lays lyrics over digital
glitches and synth-pop samples. His
tremulous voice seems foreign next to
the blips and bleeps that belong more on
the albums of the newer of new wave
resurgences.
Just as on "I’m Wide Awake, It’s
Morning," Oberst provides an
impressive ensemble for his supporting
roles. Super producer Jimmy
Tamborello, critically acclaimed for his
work with indij-rock demi-gods The
Postal Service, gives the track "Take it
Easy (Love Nothing)" catchy rhythms
and hooks.
Much like Oberst, Nick Zinner of the
Yeah Yeah Yeahs receives a plethora of
attention for his indie-rocker good looks.
Luckily for Oberst and Zinner, they have
another leg to stand on - talent. Zinner
contributes rocking guitar riffs on several
tracks including, "Down in a Rabbit
Hole" and "Easy/Lucky/Free." However,
Zinner also supplies the keyboard beats
for "Take it Easy (Love Nothing),"
among others.
Despite the jittery digital sound of
"Digital Ash in a Digital Urn," Oberst
doesn’t abstain from his expected brand
of songwriting. He continues to divulge
his inner demons at a prolific rate. On
the track "Hit the Switch," Oberst
reveals a struggle of his conscious.
He sings, "I’m thinking of quitting
drinking again. I know I’ve said that a
couple of times.”
While performing songs from
"Digital Ash in a Digital Urn" live,
Oberst is accompanied by electronic
wizards the Faint, who are also on
Saddle Creek’s label.
While "Digital Ash in a Digital Urn"
illustrates Oberst’s versatility, the
concurrent release of "I’m Wide Awake,
It’s Morning" proves that his vocals and
songwriting is better suited for the glory
of alt-country. Oberst’s fans won’t shun
"Digital Ash” because of his indie
charm, but "I’m Wide Awake" will get
more play-time in their cars’ CD
players.
Comments on this story? E-mail
gamecockfeatums@gwm.sc. edu
PHOTO SPECIAL TO THE GAMECOCK
Singer/songwriter Conor Oberst has increasingly found himself in the spotlight for his indie-rock. The
U.S. leg of his tour began in Philadelphia on Jan. 28. Coco Rosie and Tilly and the Wall are opening.
“And our freedom’s a joke, we’re
just taking a piss. And the whole
world must watch the sad comic
display, if you’re still free start
running away.”
BRIGHT EYES
'LANDLOCKED BLUES’ - 4