It's rather interesting that I've found the work of Bright Eyes to be wholly underwhelming since the release of Fevers and Mirrors back in 2000. Sure, there are been standout tracks throughout the years, but as a whole, not one entire album has quite captured the sincerity, the emotion, and the songwriting skills that Conor Oberst displayed on that album. Something was always missing. Which brings us to this album, the fourth solo release from Oberst and the first with the backing band of The Mystic Valley Band.
In spite of the location that this album was recorded, the Mexican city of Tepoztlán, Oberst and his backing band still infuse the album with the spirit of Americana. Combining equal elements of American folk music, country, bluegrass, and indie rock, this album is an enjoyable adventure to listen to from start to finish.
"Cape Canaveral" opens the album with its simplistic guitar melodies and a somber Oberst reflecting upon escape from the everyday life, a theme that seems to dominate the album's subject matter. "Sausalito" is much more upbeat, making use of bluesy guitar notes as well as rock and roll drumming. The twang of the music is matched by the slight drawl to which Oberst delivers the words with, perhaps done on purpose. "Get-Well-Cards" continues the alt-country fusion, but eases the pace back just a tad. Oberst and his troupe showcase a much softer side on "Lenders in the Temple," a four-and-a-half minute tirade and call for help not unlike the mellow tracks heard on I'm Wide Awake, It's Morning.
As the album unfolds we are met with a mix of these types of tracks. "Danny Callahan" is another catchy tune that walks the line between traditional country and the pop sounds of The Beatles. "I Don't Want to Die (In the Hospital)" rekindles the theme of escape, with the story of an individual attempting to escape a hospital so he can die doing the things he loves - smoking and drinking among them - rather than under the fluorescent lights. "NYC-Gone, Gone" is another raising number, which is almost a punk-rock sing-along, not unlike Oberst's work in Desaparecidos. And while there are moments of definition for this album, it's hard to not make corollaries to Oberst's better-known songwriting outlets. Closer "Milk Thistle" is a depression-fueled evocation of impending death that could have easily have landed on any Bright Eyes album over the past few years.
Conor Oberst is an album that caught me off guard. I actually listened to it on a whim, not expecting to listen it more than once. Instead, it has become a staple in my early morning car travels and late-night relaxations. Oberst has finally written the album he's been hyped to deliver after all these years.
