For over a decade, Conor Oberst’s name has been hidden under the moniker Bright Eyes. Though his music was nothing short of extraordinary with his longtime Omaha band, Oberst’s new self-titled release under his own name might exceed previous efforts and turn some indie heads in the process.
After over a decade of work and seven full-length albums with Bright Eyes and key band member and producer Mike Mogis, Oberst has formed his new backing band under the name The Mystic Valley Band. Recorded in a small town in Mexico, Conor Oberst is not like anything created by Bright Eyes. Where Bright Eyes’ sound was laden with minor keys and heartbreaking lyrics, his solo effort sounds much happier- barely a minor chord to be found. Oberst, who has been known for his versatility, also ventures into the world of southern rock on this album. It’s almost like when Bob Dylan went electric, minus the disappointment from loyal fans. Oberst still has acoustic tunes, but happy western blues songs separate them. When the first country riff of “Sausalito” begins to play, fans of Bright Eyes may do a double-take at first. The immediate shock will quickly fade away, though, as listeners will realize that Oberst, even without Bright Eyes, has created something special.
The album kicks off with “Cape Canaveral,” a poetic acoustic tune that sounds like it could easily be found on Cassadaga or I’m Wide Awake, It’s Morning. Oberst does and about face and trades the acoustic in for a Stratocaster on “Sausalito,” and we get the first glimpse of the new Oberst. “Get-Well-Cards” sounds like Dylan himself could have written it, with surrealist lyrics like “right now, that’s the postman sleeping in the sand / he’s got a get-well-card to deliver / he’s gonna do it by hand.” Another acoustic song, “Lenders in the Temple,” followed by “Danny Callahan,” a foot-tapping piano-driven that sounds like a mash-up of Ben Folds, Neil Diamond, and Oberst himself. “I Don’t Want to Die (In the Hospital)” is a fast-paced country ditty that would make Johnny Cash proud. “Eagle on a Pole” is as depressing as Oberst gets on the album, but he’ll cheer you back up on “NYC- Gone, Gone,” a minute-long stomp and shout track. Oberst sings about break-up and make-up on “Moab,” on which he sings “if I know where to find you / I’ll stay out of your way.” “Valle Místico (Ruben’s Song)” is 50 seconds of a strange tuning note on a horn. The penultimate track, “Souled Out!!!” is happy, angry, insightful, vivid, and kick-ass all in one country anthem. Oberst closes with “Milk Thistle,” with the best, pure Oberst lyrics on the album, like “if I go to heaven / I’ll be bored as hell.”
Oberst’s self-titled release is completely different from any Bright Eyes album, and yet you can easily tell it came from the Omaha native. His shaky, unmistakable voice still sings poetic lyrics, and the album is as versatile and varied as any effort with Bright Eyes, just covered with country riffs. Even if Bright Eyes fanatics are not country fans, they will be able to love this album simply because it has the name Conor Oberst on the cover.
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