Bright Eyes Lifted or The Story Is in the Soil, ..
Bright Eyes Lifted or The Story Is in the Soil, Keep Your Ear to the Ground
It's not often you listen to a CD and only five tracks in, you're completely
bowled over and want some sort of time-space continuum flip to occur so you
can instantly hear the rest of the album because it's that good and you just
can't wait. A mix of low-fi vocals, ambitious flair and master storytelling,
Bright Eyes' newest opusthe brainchild of Conor Oberst, also leader of
Desaperecides and recipient of the hefty title of the new wunderkind Bob
Dylanchallenges listeners without remorse, but provides great rewards as
well.
The CDwith the unfriendly title of Lifted or The Story Is in the Soil,
Keep Your Ear to the Groundbegins with an eight-and-a-half minute oeuvre. A girl
mutters directions to a driver and then Oberst ever so slowly launches in
with quiet singing, without hook and nearly without melody. It's the type of
song many artists stick at the end of their CDs or suffer listeners with as
a hidden track. A calculated contrarian to the core, Oberst puts it first,
and this rejection of what "should" be done isn't the last. But even though
he stops songs midway for "mistakes" and isn't afraid to start a song by
declaring his need for a "goddamned tenpenny roll to start this goddamned
song," Oberst still escapes preciousness or flaunting pretentiousness
through his unabashed lyrics, a beautiful voice and ingenious
instrumentation.
Oberst, who co-founded Nebraska-based indie label-of-the-minute Saddle Creek
(The Faint, Azure Ray, et al), began his songwriting career at age 12 and
cut his teeth on simple four-track recordings. On some tracks, he sticks to
this acoustic guitar formula, letting his words alone guide the songs. On
others, he delves into alt-country, indie rock, symphonic opuses and rousing
barroom anthems.
Within all this genre flirtation, Oberst tosses in lush orchestras, drunken
backing vocals and many Nebraskan musician friends, yet his low-fi, skeletal
roots overpower at all times. This sparseness proves a perfect frame for his
wonderfully tremulous voice, full of frailty and tragedy so that, like Thom
Yorke, he sounds as if he'll either burst into tears or flames at the sheer
emotion he's trying to contain. This is nowhere more apparent than the
absolute epic, "Don't Know When But a Day Is Gonna Come," an angry young man
ballad punctuated by drum corps snare that explodes into strings and
unsettling elephantine brass. Oberst doesn't bother to contain his rage but
explodes in anthemic glory. He declares that "I need some meaning I can
memorize"for his fans, that seems to be exactly what Oberst is providing.