Band: Bright Eyes
Album: Cassadaga
Release Date: April 10, 2007
Label: Saddle Creek
Cassadaga tells the full story that last month’s Four Winds EP hinted at. And believe it or not, our favorite tortured songwriter is still coming down and still finding himself, oh and he still hates Bush. However, just because some of the motifs remain unchanged does not mean that Cassadaga is a pure and simple rehash. Much to my pleasure, it is potentially one of the best-produced and most full albums from Bright Eyes. The tunes are ripe with melodic backup vocals and are a strong showing from the full band.
As you may have noticed, if you’ve read some of my other reviews, I’m just not a fan of excess talking in albums, whether it is introduction or dénouement. While the song at the heart of “Clairaudients (Kill or Be Killed)” is earnest and telling of the albums themes, you have to suffer through nearly four minutes of babble framing the six minute song. What I concluded about “Four Winds” previously holds true. However, now, within the full context of the album the songs questioning air emanates more fully and much more true.
The complete sound of the full band rings true in the high points of “If the Brakeman Turns My Way,” and in “Hot Knives” and “Make a Plan to Love Me.” The backup vocals shine brightly in the sometimes-rough sound of “Hot Knives.” This song gives great insight into the album’s theme. The song is about finding oneself and moving on. Ultimately this theme of change is central to Conor Oberst’s tone for the album. Amongst its at times Irish-esque violins “Soul Singer in a Session Band” brings questions of musical direction to the forefront, hardly a new topic. Yet, Oberst’s coarse charm gives this nearly exhausted focus new life.
Part of Oberst’s soul-searching revolves around substance abuse. It becomes openly apparent in “Cleanse Song” comes right out and says it. Possibly one of my favorite moments of the disc comes in this song “On a detox walk / Over Glendale Park / Over sidewalk chalk / Some rope read ‘start over.’” The theme slightly hidden under a creative guise but is easily interpreted in “If the Brakeman Turns My Way.”
What would a Bright Eyes release be without some quibbling with George Bush and some questioning of religion? In “Classic Cars” Oberst states: “And I keep long for that blindfold faith,” which furthers “Four Winds’” suggestion that “The Bible's blind, the Torah's deaf, the Qu'ran's mute / If you learn them all together you get close to the truth.” “No One Would Riot for Less” is full up with politics: “From the madness of the governments / To the vengeance of the sea,” which seems to lend itself to the ever popular topic of war in Iraq and possibly [Bush’s] handling of hurricane Katrina and New Orleans.
Among the homogenous sound of the full band, “Middleman” is a clear stand out, which emphasizes the CD’s overall country or folk sound. It’s got a western moving sound to it almost spectral at times. In Oberst’s search for himself he finds that “The gray areas are mine / The in-between, the absentee.” As if in his journey he has lost his identity and now waivers in limbo unsure where to go next.
Within the folk twang of “I Must Belong Somewhere” I sounds as if out hero has finally found his place. “Everything, it must belong somewhere / I know that now, that's why I'm staying here,” could it be true? Just as we’re beginning to believe that finally maybe our grief-stricken musician has found himself and found sobriety the album’s final track “Lime Tree” seems to contradict this comforting thought, where yet again Oberst’s trademark agonized words surface. Yet, this is a perfect ending for the Bright Eye’s fan. What would become of this brilliant songwriter if he were perfectly happy?
I like to think of it as musical schadenfreude on the part of Bright Eyes fans everywhere, but it is Oberst’s tortured soul that fuels his poetic lyrics. And yet again, his witty take on personal suffering makes for a brilliant album. And this time, Cassadaga is absolutely full not only of talented songwriting, but also it is bursting at the seams with shining music to accompany his distressed prose.
Showing posts with label Bright Eyes. Show all posts
Showing posts with label Bright Eyes. Show all posts
Thursday, April 12, 2007
Thursday, March 8, 2007
Bright Eyes - Four Winds EP
Band: Bright Eyes
Album: Four Winds EP
Release Date: March 6, 2007
Label: Saddle Creek
The “Four Winds” EP is the precursor to the upcoming Cassadaga, which is set for release April 10. You can look forward to that review next month. Anyways, this six track EP has one song from the upcoming full-length and five b-sides. It is reassuring, that these five tracks that didn’t quite make the cut, are really quite enjoyable.
The first track, also the title track, “Four Winds,” provides a preview of what is to come from Cassadaga. It’s got the makings of a Conor Oberst protest song, minus any direct reference to our commander in chief. Several lines, in the song make it obvious, as Oberst calls up the three major holy books, “The Bible's blind, the Torah's deaf, the Qu'ran's mute / If you learn them all together you get close to the truth.” Along the other tracks on the EP “Four Winds” has a country twang to it, that sounds vaguely like “Santa Clause is Coming to Town” as the song begins.
The second track, and my personal favorite, “Reinvent the Wheel,” continues along the lines of a country or American sound, but is more of a showcase of Oberst’s ability to create a song with a pop sound, without alienating himself. There is certainly a case to be made that this song is an ode to Elliot Smith, who is one of Oberst’s influences. Next comes “Smoke Without Fire,” which unfortunately doesn’t have much of a compelling force at all, features brief vocals from the likes of M. Ward. It is however, characteristic of many Bright Eyes songs that have a very stripped down feeling to them.
“Stray Dog Freedom” is chockfull of coarse guitar riffs that sound plucked right from the 1970’s. This storyteller has even more of that wandering country feel to it and features Ben Kweller. “Cartoon Blues” is aptly named as the song is filled with a southern blues style. However, Oberst’s tortured voice just doesn’t fit the part. Lyrically, it lacks the fullness of “Four Winds” but provides a much more solid musical experience when compared to the vacant “Smoke Without Fire.”
The sixth and final track, “Tourist Trap,” provides a deliberate paced folk sound, but seems more like an empty shell of a song, almost unfinished. It is, however, becoming of the content of the song, this story paints a picture of an empty person who lacks vitality and can no longer feel at home.
Overall, the EP is worth your time. At first I found myself only enjoying the first two tracks, but soon I was enjoying the release as a whole. As I said before, this gets my hopes up for the up coming “Cassadaga.” If this is the collection of songs that didn’t make it, I hope that the full-length will be just bursting with favorites.
Album: Four Winds EP
Release Date: March 6, 2007
Label: Saddle Creek
The “Four Winds” EP is the precursor to the upcoming Cassadaga, which is set for release April 10. You can look forward to that review next month. Anyways, this six track EP has one song from the upcoming full-length and five b-sides. It is reassuring, that these five tracks that didn’t quite make the cut, are really quite enjoyable.
The first track, also the title track, “Four Winds,” provides a preview of what is to come from Cassadaga. It’s got the makings of a Conor Oberst protest song, minus any direct reference to our commander in chief. Several lines, in the song make it obvious, as Oberst calls up the three major holy books, “The Bible's blind, the Torah's deaf, the Qu'ran's mute / If you learn them all together you get close to the truth.” Along the other tracks on the EP “Four Winds” has a country twang to it, that sounds vaguely like “Santa Clause is Coming to Town” as the song begins.
The second track, and my personal favorite, “Reinvent the Wheel,” continues along the lines of a country or American sound, but is more of a showcase of Oberst’s ability to create a song with a pop sound, without alienating himself. There is certainly a case to be made that this song is an ode to Elliot Smith, who is one of Oberst’s influences. Next comes “Smoke Without Fire,” which unfortunately doesn’t have much of a compelling force at all, features brief vocals from the likes of M. Ward. It is however, characteristic of many Bright Eyes songs that have a very stripped down feeling to them.
“Stray Dog Freedom” is chockfull of coarse guitar riffs that sound plucked right from the 1970’s. This storyteller has even more of that wandering country feel to it and features Ben Kweller. “Cartoon Blues” is aptly named as the song is filled with a southern blues style. However, Oberst’s tortured voice just doesn’t fit the part. Lyrically, it lacks the fullness of “Four Winds” but provides a much more solid musical experience when compared to the vacant “Smoke Without Fire.”
The sixth and final track, “Tourist Trap,” provides a deliberate paced folk sound, but seems more like an empty shell of a song, almost unfinished. It is, however, becoming of the content of the song, this story paints a picture of an empty person who lacks vitality and can no longer feel at home.
Overall, the EP is worth your time. At first I found myself only enjoying the first two tracks, but soon I was enjoying the release as a whole. As I said before, this gets my hopes up for the up coming “Cassadaga.” If this is the collection of songs that didn’t make it, I hope that the full-length will be just bursting with favorites.
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