Conor Oberst’s Return to Bright Eyes is True to Form

Melody, sudden changes in tempo and tone, rhythmic pop hooks are sprinkled throughout Conor Oberst’s return to Bright Eyes after a hiatus for a few solo, Monsters of Folk, ridden years. That wasn’t meant as an insult, that was a great period of creative output for Oberst. He kind of represents a musical beat poet of our generation, spitting often beautiful, deep, autobiographical and complex poetry over melodic folk, pop and rock pieces. He’s traveled and spent some time in Mexico, just as any beat should, although his brother didn’t actually die, he still wrote a song about it, which is pretty beat-ish. Think about it, he really does carry some kind of beat spirit with him. His recent foray into Rastafarianism event points to the beat interest in alternative religions, especially Buddhist back in the Kerouac, Snyder days of beat relevance.

His latest album is moody and melodic as he embraces a pop spirit as a kind of return to Bright eyes form, but strays from the folk roots of old. He sticks more to an alternative, soft rock kind of way, but not in some Train kind of way, he still is Conor Oberst, this still is Bright Eyes, you know what to expect. He manages to throw some analog snyths in there as well, which adds a cool feel. This is just the format with which he approached the album. It is also scattered with a few philosophical narratives. Oberst truly is a thinker, or maybe not, maybe hes faking it, maybe I’m wrong, who knows. Whatever, this album is good, check it out.


One for You, One for Me – Bright Eyes

The People’s Key – Bright Eyes

I realize we sometime s tend to be late one things, as this album came out a while ago, but whatever, I’ve got a life. I deliver in the end, and for those of you who never heard the album, or don’t listen to Bright Eyes, then please enjoy the discovery.

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