Here are are two singles off Cassadaga, posted in chronological order of release with Four Winds followed by Hot Knives.
Friday, June 22, 2007
Bright Eyes- Cassadaga
Seconds into the new Bright Eyes album Cassadaga, listeners can tell this is a slightly different journey this time around.
Ominous, swooping dissonance drowns out a vocal track of a woman as she discusses self-actualization and how one shouldn't fear "the trip". Conor Oberst then enters the fray with his trusty acoustic guitar which is to later be met with light percussion and angelic, subdued backing harmonies. The song is entitled Clairaudients (Kill Or Be Killed), referring to clairaudience, a facet of parapsychology pertaining to extra-sensory perception and one's ability to obtain information by means of paranormal auditory channels.
The spoken word intro has become Bright Eyes' calling card, this time pairing a somewhat bizarre, cryptic conversation with an ethereal sonic landscape. Needless to say, this was quite the start to Cassadaga.
Having been released April 10th, I've deemed that a sufficient amount of time has elapsed in order for me to construct a level-headed, unbiased critique of my favorite band's most recent offering. As I've grown in tandem with Conor Oberst's stumbling, disturbing, and at times uncomfortably honest work, I had high hopes for Cassadaga.
After hearing the Four Winds EP which contains the new album's first single by the same name, and considering Bright Eyes' last album I'm Wide Awake it's Morning (I have written off Digital Ash In A Digital Urn as an unfortunate anomaly), a neo-folk album was to be expected. And the Omaha boys don't stray too far from the mold they created with their 2005 masterpiece I'm Wide Awake.
While Bright Eyes is usually characterized by Oberst's soul-crushingly personal lyrics, it has become customary to find lush, orchestral instrumentation within much of the band's work as well. This album is no different in that respect, with newly official member Nate Walcott manning the string and horn sections. In addition to that, long-time contributor Mike Mogis has also joined the ranks. The roster changes are quite apparent on Cassadaga as the songs soar within fuller, more expansive musical realms.
Oberst continues to evolve on his part as a songwriter, approaching his work with a more universal message in mind, as opposed to his earlier material which was anchored in self-evaluation bordering on self-pity; mature is the first word that comes to mind when attempting to qualify the new album.
While Oberst's relentless inability to censor himself will be missed, I am glad he has progressed as a writer and isn't content to remain stagnant and stick with what is quickly becoming a rote and contrived formula. Then again, Oberst has never been one to rest on his laurels when taking into account his mind-boggling output over the years (11 albums in 9 years). Easily one of the most prolific writers of the decade, his work is more polished yet abstruse than ever before, more focused while remaining entirely vague. This is perhaps the prevailing theme on Cassadaga, uncertainty.
After Clairaudients comes the album's first single, Four Winds. A fantastic song featuring Walcott's work on the violin and Oberst's stellar writing, this song encapsulates how much of a wunderkind Oberst truly is. The background vocals kick in at the just the right moment as Oberst exclaims: "She just can't sustain the pressure where it's placed. She caves". No other song on Cassadaga is quite as uptempo and energetic as Four Winds, which really was a curveball (but a welcome one) to the Bright Eyes faithful.
The following song is more indicative of how this album will unfold. If The Brakeman Turns My Way is also a strong track and does a decent job of not being lost in the shuffle considering what preceded it. The band's second single is next. Hot Knives meanders near what should become the band's new home as the band rediscovers its distorted, dizzying roots while coupling it with hints of lavish instrumentation. It's the best of both worlds and debatably the highlight of the album.
Oberst also writes what are arguably the finest lyrics of his career on this track with "Oh, I've made love. Yeah, I've been fucked...so what? I'm a cartoon, you're a full moon. Let's stay up."
Sadly, the susebquent song is the most disappointing track on Cassadaga. Make A Plan To Love Me is far too reliant on the background vocals of Eisley's Dupree sisters and the insipid, uninteresting string section had me reaching for the skip button seconds after it began.
Fortunately, Soul Singer In A Session Band is next and picks up right where Hot Knives left off. Bright Eyes strikes a healthy balance between rich sonic landscapes and an indie sensibility once again and strike gold. More outstanding lyrical prowess courtesy of Mr. Oberst on this track: "I had a lengthy discussion about The Power of Myth with a post-modern author who didn't exist. In this fictitious world, all reality twists. I was a hopeless romantic, now I'm just turning tricks."
Oberst really does impress me with every outing as he manages to craft one incredibly thoughtful tale after another. While he has always been the central figure of Bright Eyes, he has finally taken a backseat to the songs themselves and this makes for a novel direction.
Make no mistake, he remains the band's heart and soul. But Oberst humbly bowing out to the music has the band embarking on wholly different journey.
While Cassadaga is not Bright Eyes' finest work, it shows signs of great promise. Rock's "boy genius" has grown up and takes listeners on a swirling, dizzying albeit musically comforting ride in his head. All I can do as a listener is strap myself in and hope Oberst's prose can once again spin the needles on my musical compass all out of whack.
7.7/10
Ominous, swooping dissonance drowns out a vocal track of a woman as she discusses self-actualization and how one shouldn't fear "the trip". Conor Oberst then enters the fray with his trusty acoustic guitar which is to later be met with light percussion and angelic, subdued backing harmonies. The song is entitled Clairaudients (Kill Or Be Killed), referring to clairaudience, a facet of parapsychology pertaining to extra-sensory perception and one's ability to obtain information by means of paranormal auditory channels.
The spoken word intro has become Bright Eyes' calling card, this time pairing a somewhat bizarre, cryptic conversation with an ethereal sonic landscape. Needless to say, this was quite the start to Cassadaga.
Having been released April 10th, I've deemed that a sufficient amount of time has elapsed in order for me to construct a level-headed, unbiased critique of my favorite band's most recent offering. As I've grown in tandem with Conor Oberst's stumbling, disturbing, and at times uncomfortably honest work, I had high hopes for Cassadaga.
After hearing the Four Winds EP which contains the new album's first single by the same name, and considering Bright Eyes' last album I'm Wide Awake it's Morning (I have written off Digital Ash In A Digital Urn as an unfortunate anomaly), a neo-folk album was to be expected. And the Omaha boys don't stray too far from the mold they created with their 2005 masterpiece I'm Wide Awake.
While Bright Eyes is usually characterized by Oberst's soul-crushingly personal lyrics, it has become customary to find lush, orchestral instrumentation within much of the band's work as well. This album is no different in that respect, with newly official member Nate Walcott manning the string and horn sections. In addition to that, long-time contributor Mike Mogis has also joined the ranks. The roster changes are quite apparent on Cassadaga as the songs soar within fuller, more expansive musical realms.
Oberst continues to evolve on his part as a songwriter, approaching his work with a more universal message in mind, as opposed to his earlier material which was anchored in self-evaluation bordering on self-pity; mature is the first word that comes to mind when attempting to qualify the new album.
While Oberst's relentless inability to censor himself will be missed, I am glad he has progressed as a writer and isn't content to remain stagnant and stick with what is quickly becoming a rote and contrived formula. Then again, Oberst has never been one to rest on his laurels when taking into account his mind-boggling output over the years (11 albums in 9 years). Easily one of the most prolific writers of the decade, his work is more polished yet abstruse than ever before, more focused while remaining entirely vague. This is perhaps the prevailing theme on Cassadaga, uncertainty.
After Clairaudients comes the album's first single, Four Winds. A fantastic song featuring Walcott's work on the violin and Oberst's stellar writing, this song encapsulates how much of a wunderkind Oberst truly is. The background vocals kick in at the just the right moment as Oberst exclaims: "She just can't sustain the pressure where it's placed. She caves". No other song on Cassadaga is quite as uptempo and energetic as Four Winds, which really was a curveball (but a welcome one) to the Bright Eyes faithful.
The following song is more indicative of how this album will unfold. If The Brakeman Turns My Way is also a strong track and does a decent job of not being lost in the shuffle considering what preceded it. The band's second single is next. Hot Knives meanders near what should become the band's new home as the band rediscovers its distorted, dizzying roots while coupling it with hints of lavish instrumentation. It's the best of both worlds and debatably the highlight of the album.
Oberst also writes what are arguably the finest lyrics of his career on this track with "Oh, I've made love. Yeah, I've been fucked...so what? I'm a cartoon, you're a full moon. Let's stay up."
Sadly, the susebquent song is the most disappointing track on Cassadaga. Make A Plan To Love Me is far too reliant on the background vocals of Eisley's Dupree sisters and the insipid, uninteresting string section had me reaching for the skip button seconds after it began.
Fortunately, Soul Singer In A Session Band is next and picks up right where Hot Knives left off. Bright Eyes strikes a healthy balance between rich sonic landscapes and an indie sensibility once again and strike gold. More outstanding lyrical prowess courtesy of Mr. Oberst on this track: "I had a lengthy discussion about The Power of Myth with a post-modern author who didn't exist. In this fictitious world, all reality twists. I was a hopeless romantic, now I'm just turning tricks."
Oberst really does impress me with every outing as he manages to craft one incredibly thoughtful tale after another. While he has always been the central figure of Bright Eyes, he has finally taken a backseat to the songs themselves and this makes for a novel direction.
Make no mistake, he remains the band's heart and soul. But Oberst humbly bowing out to the music has the band embarking on wholly different journey.
While Cassadaga is not Bright Eyes' finest work, it shows signs of great promise. Rock's "boy genius" has grown up and takes listeners on a swirling, dizzying albeit musically comforting ride in his head. All I can do as a listener is strap myself in and hope Oberst's prose can once again spin the needles on my musical compass all out of whack.
7.7/10
Song of the day
Today's song of the day is a Starman by David Bowie, an artist pretty much everyone with ears should appreciate.
Wednesday, June 20, 2007
I Wish You Would Put Yourself In My Suitcase
Here is the video for Coconut Records' first single off Nightiming, West Coast. Enjoy.
Coconut Records- Nighttiming
It is fairly common nowadays to find Hollywood actors and actresses branching out into the music industry. Despite an utterly cursory knowledge of mainstream culture, I know that Bruce Willis, Keanu Reeves, and many other thespians have dabbled in rock music. Unfortunately (or perhaps fortunately for my ears), most of these "multi-talented" artists fail to make any waves in the business.
This actually renders Jason Schwartzman's diminutive Hollywood status beneficial to his musical aspirations. Schwartzman consequently has a better chance of being taken seriously without being scoffed at for wanting to be more than bespectacled toolbox Max Fischer from 1999's Rushmore. With that being said, crafting good tunes always helps.
Schwartzman's band Coconut Records doesn't fail to deliver either with its debut Nighttiming. The album embodies all that is great about balmy summer weather. Hot weather is at its best when shorts and flip-flops are required, by shirtlessness is not. When you can step out on your deck and not have to skip around frantically in order to avoid foot burn. Schwartzman and company achieve this healthy balance on their debut effort no less, which is filled to the brim with enchanting oooh's and aaah's as lead singer Schwartzman expounds on fairly tepid yet entirely relatable issues.
Let it be said now that this band is not anchored in lyrics. The band thrives on creating radiant pop melodies and they pass that sonic test with flying colors. Nighttiming, which sounds like some dismal dance record, kicks off with the band's first single West Coast. Within the first few seconds, listeners can tell that this is not just a pastime to Schwartzman. He has devoted time and energy into creating crisp, concise pop songs that can still be genuine and tell a believable story. Set to absolutely grandiose harmonizing in the background, lead singer Schwartzman weaves a story of solitude and homesickness as the aahhh's swirl and soar. Quite the start.
The next song is title track, one of the few songs that actually seems to fit under the album's moniker (which makes sense since it is after all the title track). With dizzying keyboard lines and pulsating drums, the song is essntially 170 seconds of indomitable head-bobbing and foot-tapping. The two aforementioned actions are all one should really want out of summer music and Coconut Records induces this behavior effortlessly with every addicting hook and vocal harmony.
Clocking in at about 33 minutes and a half, the album is terse as stated earlier, but it doesn't make it any less memorable. If anything, the brevity had me longing for more. Some albums tend to be overdrawn and as a result, forgettable. This album does not contain any filler. Sure there are weaker tracks (Summer Day, which coincidentally landed a spot on the Spiderman 3 soundtrack) but they are far from mediocre and still have their place within the album's big picture.
One thing to keep in mind when analyzing Nighttiming though, is the shift in direction midway through the record. The first half of the album is quite jaunty and uptempo while the last half is far more laid-back and often finds a solo (barring the background vocals) Schwartzman plucking away on his guitar with the odd synth line thrown in for good measure. While this aesthetic isn't as bouncy as the first 15 minutes of the record, the shift isn't sufficiently drastic to detract from the overall theme, giving Nighttiming an organic feel.
One by one, Schwartzman's quasi-lullabies run their course to finally lead into the fantastic closer, The Thanks I Get (not a Jeff Tweedy cover if anyone's wondering, although that would be interesting). This track is an appropriate culmination to the album, with the amalgamation of both halves creating a pleasant backdrop for Schwartzman's slightly distorted vocals as he claims: "It was obviously the summertime that made you change your mind". Pop bliss.
Schwartzman has managed to avoid the crossover artist stigma and his band has in turn constructed clever, ingenious, and most importantly catchy songs that are definitely worth a spin. Coconut Records have released one of the best of 2007 so far and are among the few artists capable of creating buoyant pop music that never falls into trite, saccharine territory. Buy it now.
7.5/10
This actually renders Jason Schwartzman's diminutive Hollywood status beneficial to his musical aspirations. Schwartzman consequently has a better chance of being taken seriously without being scoffed at for wanting to be more than bespectacled toolbox Max Fischer from 1999's Rushmore. With that being said, crafting good tunes always helps.
Schwartzman's band Coconut Records doesn't fail to deliver either with its debut Nighttiming. The album embodies all that is great about balmy summer weather. Hot weather is at its best when shorts and flip-flops are required, by shirtlessness is not. When you can step out on your deck and not have to skip around frantically in order to avoid foot burn. Schwartzman and company achieve this healthy balance on their debut effort no less, which is filled to the brim with enchanting oooh's and aaah's as lead singer Schwartzman expounds on fairly tepid yet entirely relatable issues.
Let it be said now that this band is not anchored in lyrics. The band thrives on creating radiant pop melodies and they pass that sonic test with flying colors. Nighttiming, which sounds like some dismal dance record, kicks off with the band's first single West Coast. Within the first few seconds, listeners can tell that this is not just a pastime to Schwartzman. He has devoted time and energy into creating crisp, concise pop songs that can still be genuine and tell a believable story. Set to absolutely grandiose harmonizing in the background, lead singer Schwartzman weaves a story of solitude and homesickness as the aahhh's swirl and soar. Quite the start.
The next song is title track, one of the few songs that actually seems to fit under the album's moniker (which makes sense since it is after all the title track). With dizzying keyboard lines and pulsating drums, the song is essntially 170 seconds of indomitable head-bobbing and foot-tapping. The two aforementioned actions are all one should really want out of summer music and Coconut Records induces this behavior effortlessly with every addicting hook and vocal harmony.
Clocking in at about 33 minutes and a half, the album is terse as stated earlier, but it doesn't make it any less memorable. If anything, the brevity had me longing for more. Some albums tend to be overdrawn and as a result, forgettable. This album does not contain any filler. Sure there are weaker tracks (Summer Day, which coincidentally landed a spot on the Spiderman 3 soundtrack) but they are far from mediocre and still have their place within the album's big picture.
One thing to keep in mind when analyzing Nighttiming though, is the shift in direction midway through the record. The first half of the album is quite jaunty and uptempo while the last half is far more laid-back and often finds a solo (barring the background vocals) Schwartzman plucking away on his guitar with the odd synth line thrown in for good measure. While this aesthetic isn't as bouncy as the first 15 minutes of the record, the shift isn't sufficiently drastic to detract from the overall theme, giving Nighttiming an organic feel.
One by one, Schwartzman's quasi-lullabies run their course to finally lead into the fantastic closer, The Thanks I Get (not a Jeff Tweedy cover if anyone's wondering, although that would be interesting). This track is an appropriate culmination to the album, with the amalgamation of both halves creating a pleasant backdrop for Schwartzman's slightly distorted vocals as he claims: "It was obviously the summertime that made you change your mind". Pop bliss.
Schwartzman has managed to avoid the crossover artist stigma and his band has in turn constructed clever, ingenious, and most importantly catchy songs that are definitely worth a spin. Coconut Records have released one of the best of 2007 so far and are among the few artists capable of creating buoyant pop music that never falls into trite, saccharine territory. Buy it now.
7.5/10
Song of the day
Hello everyone. What looked like a gloomy, rainy day in Montreal has turned into a rather pleasant sunny one. Therefore, today's song is China by Chris Holmes.
Monday, June 18, 2007
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