Bright Eyes unleashes its newest effort with an unexpected twist, the story of a harrowing plane crash. Yet from the opening song to "I'm Wide Awake, It's Morning," they somehow manage to take this bleak picture and turn the rest of the album into a celebration of the ups and downs of life.
Connor Oberst, the singer-songwriter behind Bright Eyes, has always been one for brutal honesty; however, his raucous vocal performances have alienated some listeners. From the triumphant chorus in the opening number to the hushed harmonies shared with country music legend Emmylou Harris, it is obvious Oberst has refined his style.
Instrumentation appears in a modest fashion with the traditional elements of a folk-tinged album. Keeping the musical palate simple draws the listener's attention to the true focus: lyrics. For a lyricist of only 24 years of age, Oberst writes in world-weary tones about everything from death to relationships to politics.
The coherent nature of the album forms a solidcollection of honest songs.
Apparently for Connor Oberst, releasing just one great album simply wasn't enough. So, a second effort titled "Digital Ash in a Digital Urn," was released simultaneously, including mainstream elements not found in "I'm Wide Awake, It's Morning." The success of "Wide Awake" is not quite duplicated by "Digital Ash."
The first few tracks are more beat-oriented and keyboard-reliant. "Take It Easy (Love Nothing)" may very well be the most pop-infused Bright Eyes has ever sounded, with cameo programming from The Postal Service's Jimmy Tamborello. "Hit the Switch" and "Devil in the Details" both shimmer with prominent harp making the musical landscape seem brighter (no pun intended). "Ship in a Bottle" even features a quasi-jazz trumpet interlude.
Stylistic changes, while keeping the album interesting, often feel like an aural identity crisis. The band-oriented songs are more engaging than the electronically-driven ones. Sometimes the cliqued pop sounds of tracks such as "Arc of Time (Time Code)" just do not fit Oberst's voice and personality. Consequently, the material feels forced about as often as it feels natural. With a little more quality control, "Digital Ash in a Digital Urn" could have been a more fitting companion for its counterpart.
Fans who truly felt a connection to Oberst's singer-songwriter style will obviously be drawn to "I'm Wide Awake, It's Morning" and will have to take time to appreciate "Digital Ash in a Digital Urn. " While the former album aims to be a "classic," the intention of the latter is often vague. Bright Eyes seems to be reaching out to longtime fans while offering a more contemporary and accessible collection to increase its popularity. Normally, this may be seen as "selling out," but, Oberst continues to do things on his own terms -- he released both albums on the independent label he helped to found, Saddle Creek. If anything, the material on both of these albums shows exponential growth and undoubtedly will earn the genuinely insightful Connor Oberst his due.
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