Every Day and Every Night
Bright Eyes continues the overplayed trend of 'young boy writing sad songs in his bedroom with the help of his friends for instrumentation'. Yet unlike many others who have beaten down this path, Conor Oberst (the aforementioned young boy) is just different enough to make it work. Raw guitar chords, soothing vibraphone and tempos that weave in and out of aggressive rock into sweet songs with whispering vocals and simple guitar plucking fill this five song ep. Wise beyond his years, Oberst paints detailed pictures of the topics he sings fitting much more into each song then many do on a full album. Closing the ep is "Neely O'hara", a nod to Jacqueline Susann's "Valley of the Dolls", and a song that's as dark as Neely was herself. Background screaming, radio transmissions and all the typical fare that you'd except to find from a boy in his bedroom come together in an eerie homage to Neely and her "dolls". Surprisingly catchy and progressing nicely from the 1998 full-length "Letting Off the Happiness", this ep shows that the future will indeed be bright for Bright Eyes.