Reviews

There is No Beginning to the Story

Author: Didier
08/10/2002 | Matamore | www.matamore.net | Album Review
Translated with Google English:

The discs are connected for Bright Eyes and Conor Oberst continues its small catch of way, extending to each step the extent of its recognition and its public. Rolling Stone, principal musical review American sees from now on in him a foxy Young Bob Dylan.

That to still hope for of more than him, which became the voice of its generation as Wil Oldham was that of the preceding one or Neil Young, Bruce Springsteen and Bob Dylan, those of others older.

This new ep is already before a whole plea to start again to buy vinyl. Beyond its titular beach, ' From has balance beam ', the version Cd offers three news plus a dispensable no-claims bonus track. The version vinyl, in addition to these three news proposes of it a fourth, ' Amy in the white cat ', superb, as well as a live resumption of Neil Young, ' Out one the weekend '.

It marks also an evolution for Bright Eyes, towards more calms - especially on the level of the song - and a certain maturity of the songwriting. What is outstanding on this ep, it is that no song resembles the other and that for as much they all are made a success of. Musicalement one finds as usual same fluctuating crowd musicians around the core Conor Oberst/Mike Mogis, with instruments as diversified as the banjo, horn, mandoline, dobro, glockenspiel, piano, trumpet, vibraphone, dulcimer, flute, around usual low, guitar and battery.

Extracted the new album, ' From has balance beam ', single ideal, of Bright Eyes pure juice, with this certain something in the rhythmic one which evokes Good Life and Smiths. And always the voice - so particular and as much irritating for some than upsetting for others, of which me - and these ideal words: ' It was in A foreign hotel' S bathtub I baptized myself in exchange. And one by one I drowned all of the people I had been. I emerged to find the parallels were fewer. I was cleansed. I looked in the mirror and someone new was there... '.

If one must hear timeless folk on this ep, if one must arise the names of Leonard Cohen or Bob Dylan, given to the intonations of the day, it is on splendid and poignant ' the messenger bird' S song '. Always this faculty which has Conor Oberst to fold us into two, to make us lose foot, awaking crowd of personal pains step completely healed, recroqueviller like an animal wounded to protect these wounds. And one waits and hopes, on our lives, to be raised a favourable break - which is long in coming or perhaps will not appear - in the sky.

' We are free men' which follows is a duet with Simon Joyner (www.matamore.net/annexes/chr_joyner.htm) where Orenda Fink (www.matamore.net/annexes/chr_azure.htm) also comes to play the second voices. One thus moves away a little the traditional universe from Bright Eyes for a kind of mix between the two sound envelopes of the songwriters. An American journalist qualified this song of pop chamber with R.E.M. circa Automatic For The People and one can just add that it is well seen.

' Loose leaves' plays wonder its role of face B released from any stylistic objective, Bright Eyes full band with the naturalness, in a vast pop construction industry which one would readily charge to Neutral Milk Hotel or New Pornographers (www.matamore.net/annexes/chr_newporno.htm).

The way with the occupants of CD stops there. Those which convey out of vinyl will be entitled to the jewel which is ' Amy in the white cat ', the song very dark and frankly best of the ep for the unconditional ones of the writing of Conor Oberst and intended to join the favorite few. More lo-fi, melancholic person, close friend and desperate. One hears the rain fall on the panes like the tears to run on the cheeks of Amy, innocent victim of inceste.

The extra-track last of vinyl is this live resumption of Neil Young, ' Out one the weekend ', extracted the album ' Harvest' of 1972. Pretty bootleg, carried out well, but which would have more its place in an album live of Bright Eyes - that should arrive well.

A really essential ep in the discography of Conor Oberst.





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