Sep 302010

Bright Eyes, “Coyote Song”

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I’m a huge fan of a lot of the work that Conor Oberst has been doing in the past few years. And while I don’t always agree with the mans politics, I really admire what he’s trying to do with supporting immigration reform. I’m cynical about his chances for success, but I profoundly admire the effort.

Here’s his new single, “Coyote Song”. Whatever your feelings about the implied political message, I think it’s a damn fine tune:

Exclusive Song for The Sound Strike “Coyote Song” by Bright Eyes. from Producciones Cimarrón on Vimeo.

Nov 012008

Friday Five

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Well, for a variety of reasons it’s a whiskey and Ryan Adams night.  So here are five albums that compliment a whiskey nightcap:

Ryan Adams, Love Is Hell

The Wallflowers, Breach

Leonard Cohen, Songs of Love and Hate

Bright Eyes, Cassadaga

Miles Davis, Birth of the Cool

Jun 092008

“So simple in the moonlight”

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Conor Oberst (of Bright Eyes fame) playing “Lua” (off of I’m Wide Awake, It’s Morning)at Coachella, 2005. I am thoroughly charmed by this video, despite the poorly-timed cut to some footage of an interview with Oberst.

Sep 162007

In the wake of the absolutely fantastic Bright Eyes show last night, my good friend Ann has written a really interesting piece on the way Bright Eyes has matured over the years. It’s definitely worth a read. (LINK)

Aug 162007

"Wail like an infant atop a white baby grand"

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The wonderfully inimitable Ann had informed me that Bright Eyes is going to be playing my humble city of Spokane, WA on the 15th. If you’re in or around the area, it should be an awesome show. If even half the talent (e.g. Gillian Welch, Mike Mogis, Nate Wolcott, M. Ward, et al. ) that Conor Oberst collected with him on Cassadaga hits the road with him, then those live shows are going to kick prodigious amounts of ass.

Apr 172007

Well, once again Democracy has spoken and it has decreed that I’ll be reviewing Nine Inch Nails’ Year Zero for next Tuesday. Which is advantageous, since, thanks to the generosity of Mr. Reznor and associates, you can listen to the album for free online. (Just click on “Listen to Year Zero” in the upper right-hand corner.) You can also check out the video for the single, “Survivalism.”

Also, for those of you clamoring to read my review of the new Bright Eyes album, it can be found here, or simply by scrolling down to the next post.

And now, without further ado, your voting options for next week:

Arctic Monkeys, Favourite Worst Nightmare
All Smiles, Ten Readings of a Warning
Bill Callahan, Woke on a Whaleheart
Dntel, Dumb Luck
Charlotte Gainsburg, 5:55
The Go Find, Stars on the Wall
The Nightwatchman, One Man Revolution
Patti Smith, Twelve
Avey Tare & Kira Brekkan, Pullhair Rubeye
Three More Shallows, Book of Bad Breaks

Apr 162007

Bright Eyes, Cassadaga

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Artist: Bright Eyes
Album: Cassadaga
Label: Saddle Creek Records
Release Date: Tuesday, 2007.4.10
Score: 8/10

Cassadaga is a fairly significant turn for Bright Eyes in several ways. It marks a distinctive shift in the group’s sound (comparable in scope to that heard on Digital Ash in a Digital Urn) towards the Country / Western / Alt Country area of the musical spectra. And for lyricist / songwriter Conor Oberst, it displays a level of political and social awareness not present in previous efforts. And like all new paths, this one starts out with some noticeable rough spots. The political commentary is occasionally shallow or reductionist, the country twang is occasionally done up a little too much, the intense self-reflection and self-reference (hallmarks of most of Bright Eyes’ work) occasionally takes a turn for the decidedly pretentious.

The net result, however, is a moving, often charming, and intensely personal look at the world. The tone of the album is at turns introspective, narrative, and observational, giving a sense (present in a great deal of the rest of Bright Eyes’ corpus) that the band really is a mouthpiece for Oberst’s view of the world. And while how autobiographical the album is remains an open question, it certainly has a biographical feel to it. This intensely personal tone (as well as several of the lyrical and musical themes of the album) is set early with the single, “Four Winds.” This rocking, alt-country track serves as a far more fitting opening to the album than the plodding, introspective, “Clairaudients (Kill or Be Killed).” “Four Winds” manages to neatly wrap most of the important facets of the album in one track, which makes it the ideal single. Religious and social commentary (“The Bible’s blind, the Torah’s deaf, the Koran is mute”) mix with personal reflection and a recurring theme of wandering and a search for truth. And with a intensely rhythmic, heavily country-influenced sound, the song also gives the listener a musical sense of what to expect in the rest of the album.

And what the listener has to look forward to is largely positive and quite varied for the extent to which it fits into the orchestral Country feel to which the band commits. This is hardly a surprise given the diverse cast of talented musicians Oberst has managed to collect. Notables include M. Ward, Gillian Welsh (along with long-time associate, guitarist David Rawlings), Ben Kweller, Jason Boesel (of Rilo Kiley fame), and Janet Weiss (formerly of Sleater Kinney). The result of this collaboration is a rich musical complexity that not only makes for a pleasant, interesting listening experience, but means that Cassadaga rewards repeat listening with the kind of depth that always turns up new musical tidbits.

One track which epitomizes this musical depth is the deceptively simple-sounding “Classic Cars.” At first, this introspective character sketch sounds to be a fairly typical and unnoteworthy alt-country combination of vocal-driven melodies supported by guitar-heavy harmonies. But beyond Jason Boesel’s varied, interesting, and almost-unpatterned drumming and the excellent guitar lines laid down by Mike Mogis and David Rawlings, there’s some excellent piano work (courtesy of Nate Walcott) and Gillian Welsh’s smooth, unwavering alto singing backup. The net effect is a rich, interesting track that begs to be put on repeat.

But the boons brought by this impressive musical cast aren’t limited to one or two tracks, but rather heard all over the album. The dark, orchestrally percussive “Middleman” features catchy, bluegrass-inspired guitar hooks and some incredibly groovy work by a sizeable percussion section. “No One Would Riot for Less” builds slowly from a simple accoustic guitar melody (which would sound right at home on any of Bright Eyes’ early albums) to a cathartic major turn accompanied by orchestral harmonies, organ, and lap steel guitar. The wonderfully-named “Soul Singer in the Session Band” features superb vocal and guitar work from bluesman M. Ward in support of Oberst’s lyrical, moaning voice.

Lyrically speaking, this album is paradoxically both one of the most self-referential and yet most socially aware Bright Eyes album to date. While most of the songs are couched in an autobiographical mood, Oberst finds time to take jabs at the political and social structures. And while I’m always skeptical of such commentary in music (it’s easy to do, but incredibly hard to do well), Oberst does manage it without too much melodrama or pretension. Admittedly, there are some cringe-worthy lines, but I can forgive a contrived reference to “democracy’s shackled hands” in light of the more subtle (“Get your revolution at a lower price”) and better developed (the social and religious jabs in “Four Winds”).

When one comes right down to it, the album is kind of a “one for the fans” affair. For all its new Country trappings, Bright Eyes is much the same as it’s always been: a group of talented musicians serving largely as a mouthpiece for frontman Conor Oberst. There are a lot of musical bits of stylistic nostalgia harkening back to previous albums (“Coat Check Dream Song” is syncopated and synth-y enough that it could easily have been a Digital Ash in a Digital Urn b-side) and many of Oberst’s favorite lyrical memes crop up throughout. As a result, if you like Bright Eyes, you’re probably going to dig Cassadaga. If, on the other hand, Conor Oberst and his troupe rub you the wrong way, then the occasional pretension and consistent self-reference will probably get old pretty quickly. That being said, this album is far more interesting from a strictly musical point of view than previous Bright Eyes releases. The scoring and song-writing is more complex and the resulting sound is rich and engaging, with the kind of depth that is likely to keep listeners coming back for more.

Apr 132007

"Better find yourself a place to level out"

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One reason why Metacritic.com is frustrating is because it’s a great idea, in theory, but their methodology of reducing a composite of reviews to a single score is a bit simplistic. All the ways in which it is simplistic is a rant for another day. I really only mention that so that I have a way to explain why the metacritic scores for the latest Hilary Duff album and the latest Bright Eyes album are, as of right now, equal, with both albums scoring a tepid 73. Can it really be that the music review community thinks that Dignity and Cassadaga are really works of similar merit? And what’s worse, the user reviews have Hilary Duff rated much better than Bright Eyes. I’m prepared to turn my artistic elitism up to 11 on that score and just say the users are idiots, but it does raise the interesting question of what, exactly, is a person doing when they qualitatively evaluate a piece of art like an album?

Of course the easy response to this is simply that taste is everything and, perhaps, I’m deceiving myself if I think that there’s any real, objective, qualitative difference between the two albums. But can’t an album as devoid of musical or lyrical content as Dignity be said to be actually inferior to a rich, engaging, musically interesting album like Cassadaga? Or are any comparisons we make simple subjective expressions of taste? I mean, if the latter is the case and no one really can make qualitative artistic judgements, then what’s the point of reviews in the first place?

Or perhaps there’s a more subtle, compatibalist argument to made: that the quality of an artistic work can be assessed in an intersubjective fashion, with people assessing it based not on strictly personal, but rather on cultural, social, traditional or some other grounds. It’s subjective in the sense that it’s not some sort of empirical, strong-evaluative measurement or judgment, but it’s also not simply a radical, “I-think-this-is-good-and-no-one-else-can-tell-me-otherwise” subjectivity. To take a Gadamerian line, maybe what I’m doing when I review music is saying neither “this is an album of a certain quality” or “I liked found this album pleasing to a certain degree” but rather “here’s how I found this album to relate to my sense of the tradition”?

Anyway, I’m still miffed that Duff and Bright Eyes are getting the same kind of mixed reviews over all. Also, in other news, the M. Phil program I’m in is apparently turning me into a full on Philosophy dork.

Apr 102007

I have done your bidding and reviewed Hilary Duff’s latest album. I was even fairly civil about it, I think. And for my hard work, I see that I’ve been rewarded: Bright Eyes’ Cassadaga one the votes by a one-point margin. Admittedly the voter turnout left something to be desired, but thanks to all who voted. I think I’ll actually be picking up the Grinderman album as well, since I’m kind of eager to hear Nick Cave is doing these days.

The options for April 17th are as follows:

Nine Inch Nails, Year Zero
Avril Lavigne, The Best Damn Thing
Robert Pollard, Silverfish Trivia EP
Joseph Arthur, Let’s Just Be
Zombie Girl, Blood, Brains and Rock n’ Roll
The Waterboys, Book of Lightning

In honor of my birthday, which is coming up on the 18th, I’m awarding myself a vote in this round of voting, which I’m using to vote for Nine Inch Nails’ Year Zero. I have a hard time saying no to Trent Reznor’s unique brand of industrial awesomeness, to say nothing of the absolutely insane guitar playing of Aaron North.

In other news, it was requested that I put a link to filter out everything but reviews, so you’ll find at right in the sidebar three links. One to filter out everything but reviews, one to filter out everything but Tuesday reviews and one to filter out everything but Meta posts (i.e. posts about this blog itself and its operation.)

Apr 012007

Artist: Bright Eyes
Album: Four Winds EP
Label: Saddle Creek
Score: 9/10

For some reason, whenever I hear that Conor Oberst is releasing another Bright Eyes album, I’m always vaguely worried. Part of me is always worried that I’ll pick it up only to hear that Mr. Oberst has finally gone one album too far and catapulted himself off into the kind of melodramatic musical pretension that his music always seems to threaten, but (thankfully) usually manages to avoid. So it was when I heard that his new album Cassadaga would be coming out in April.

I was quite pleased, then, when I first heard the album single, the lyrical, country-tinged “Four Winds” and saw the top-talent line up for the album. I was also extremely pleased to see that they were releasing an EP to accompany the single. So, I dug a few virtual dollars out of my virtual wallet and ordered the Four Winds EP off Amazon, and ever since it’s arrived it’s been in fairly heavy rotation.

The EP has a little something for every kind of Bright Eyes fan. Were you a Lifted… fan? There’s the dark, rambling “Cartoon Blues”. More of a I’m Wide Awake, It’s Morning kid? Try the Conor Oberst/M. Ward duet “Smoke Without Fire”. Did you did the more modern sound of Digital Ash in a Digital Urn? Check out “Reinvent the Wheel”. Whatever it is you’ve liked about Conor Oberst and his variety of musical friends, there’s at least one track on the EP that will give you your particular Bright Eyes fix.

What’s more, though, you’ll also get something a little new. “Tourist Trap”, for example, has the fuzzy, plodding, Folk-Blues sound one usually attributes more to M. Ward or Sam Beam. More telling, however, is the focus of the single EP: “Four Winds”.

[soapbox]I will say, “Four Winds” is one of those songs that is going to inspire a lot of irritation for me. Not because of the song itself, but because of how a lot of people are going to want to read into it. It has the epic sound and heavily referential style that always seems to bring out the pop exegete in listeners. And while there are many people whose opinions on the song I’m actually quite eager to hear, there’s going to be a lot more interpretations of it that are going to make me want to bash the speaker in the head with the nearest blunt object. In support for this theory: a link to the SongMeanings.com entry for the song. Of course, SongMeanings.com fosters this kind of lame-brained hyper-intepretive effect all its own, but with a song as rich and referential as this, some people definitely go nuts with it. I particularly like the “This song is calling for an end to civilization, YEAH REVOLUTION” meme that one of the commenters reads into it.[/soapbox]

The song is, though, kind of Eliot-esque in the way it uses references. That is to say, it’s not simply the seamless integration of allusions in the music, but rather the use of such allusions in a creative and productive way. The few references to Yeats’ “The Second Coming” are particular nice, with such unique appropriations as “hold us at the center while the spiral unwinds”. Similarly the biblical references, especially to the book of Revelations, the religious community of Cassadaga, and others. Of course the sheer concentration of allusion doesn’t reach Eliot strength, but it’s at least a few hundred milli-Eliots.

What makes song notably new, however, is not simply its allusion-heavy lyrical style, but its heavy country influence, its explicitly religious overtones, and a sense of social commentary which Oberst has, historically, avoided (at least until his two 2005 releases, Digital Ash in a Digital Urn and I’m Wide Awake, It’s Morning, in which socio-political commentary was a more evident theme.)

It’s always a toss-up whether or not a single will be qualitatively or stylistically representative of album from which it’s drawn, but in the case of “Four Winds”, I would certainly be happy to hear an album full of the kind of quality musicianship and songwriting evident on “Four Winds” and on the EP as a whole. And while it would be quite easy to overdo the swaying, plaintive Country sound and thick allusions heard in “Four Winds”, there seems to be no indication of that happening, if single really is an example of what we should expect from Cassadaga when it drops on April 10th (meaning, incidently, that you’ll have a chance to vote for a review it next week, if you’re so inclined).

So I think it’s pretty safe to say that my pre-Bright-Eyes-release worries have been well-assuaged by a proper single EP chock full of a variety of a variety of kinds of Bright Eyes goodness.