Bright Eyes

This album has more of a country feel than the older ones. I was not that into it at first, most musically and lyrically (Which is really Bright Eyes' strong point).

...but I have to say, after awhile, it grew on me. Now I like it quite a bit for background. I must say though that I love it much more than the solo Conor Oberst album.

I would never call myself a huge Bright Eyes fan, but I do enjoy them. I was introduced to them in high school with the song "A Perfect Sonnet" on the Every Day and Every Night EP, leading to me downloading and purchasing several others after that. Conor's emotional and chaotic melodies made every album unique, and I love all the awkward vocalizing and experimental noise running throughout albums like Fevers and Mirrors or Lifted.

Then came the two big albums that really hit them off commercially - I'm Wide Awake, It's Morning and Digital Ash in a Digital Urn. Out of the two, I preferred Digital Ash as it was rawer and more of that experimental noise I loved from Conor's music, but the critics seemed to favor I'm Wide Awake moreso, which to me just sounded like a well-written country album. Don't get me wrong, it's not a dislike of the genre - it seemed more like a return to the old days when the music wasn't cheesy and hokey. There's no "She Thinks My Tractor's Sexy" on that album.

Cassadega - I remember hearing the single for this in my local stores and in the movie Cloverfield, the track "Four Winds." I didn't mind it, I didn't really find it to be anything special, but it wasn't a bad song and it was kinda catchy if you kept listening to it. Still, I avoided this album as nothing really drew me into it. I just received this disc in the mail free from the Pepsi Stuff bottle cap promotion going on recently, and I must say that after taking my time to listen to this album in its entirety... it's a huge letdown.

Here's what it sounds like to me: I'm Wide Awake met with great critical and commercial success, correct? Well, why not just recreate that and make it even more polished and like everything else playing on the radio these days? I was excited when the album first started and I heard all these bizarre sound clips thinking "this is leading to something really good," but not only is the pop-shine on every song a little unlike previous albums, but the song writing is just uninventive.

Most of the tracks sound like Conor wasn't even trying - like he was holding back and just started telling these stories about people he didn't care about doing things he couldn't be bothered with, and the music is just bland and repetitious. I've noticed that on Bright Eyes albums in the past, several songs will just be the same four chords over and over on loop, but at least the lyrics will be interesting and thought provoking. This album almost put me to sleep with how boring it is.

I will say that there were three songs or so that I actually did like. "Four Winds" would be one, but that's obviously the "hooker" on the album. "Lime Tree" was another that actually had some pretty good lyrics to back it's well-thought instrumentation. The third song I can't particularly remember, but then again with Bright Eyes, song titles are usually kinda trivial unless you're looking at the booklet while listening to it which at the time I wasn't. I would like to say it was "No One Would Riot For Less" but I can't be sure.

The most interesting thing I found to be on Cassadega was the cover and the decoder square. That had me even more excited when I first opened it because I hadn't really come across any inventive CD packaging like that in a while and to me it made me even feel like I had something special on my hands. It's a shame that the disc itself wasn't as unique. If this is your first entrance to the world of Bright Eyes, I highly suggest you look in the back catalog after hearing this album - my preferred album being Lifted as it captures all that I love about Conor's music with still somewhat of a pop sensability to it. If you're a big fan of I'm Wide Awake and don't know much else about the group, then you'll probably enjoy it. Maybe not as much, but moreso than I did.

Maybe me and this album just didn't click. Either way, I would not recommend it.

Everything about this album is and was true to form: desperate, disillusioned, violent, heartful and heartless. Spines wind on every track as he pours poison over ice and serves it with a dead man's smile and an umbrella on top. I can no longer bear to listen to this record for personal reasons, but I don't regret buying it. Anyone willing to bear witness to the stonings on this record will enjoy the old-fashioned shake-up; pedal steel grips this album in its emotional climax on "No One Would Riot for Less", no less at home than the symphonic cacophany that prologues this riveting album. As Conor Oberst cracks the sternums of religion, government and "war hawks", he does not spare his own. He opens himself on this album as he has on records before, but his vigor compresses a visceral and devastating impact. Behind the ranting and cracking of death rattles, the broken brilliance of Coner Oberst retains a bit of a quiet young man who still hasn't completely convinced himself that "he must belong somewhere."

If you really listen to this album, it's still Bright Eyes, it's still Conor Oberst, just polished to a high luster. The combination of Conor Oberst, Mike Mogis and Nate Wolcott is just magic. The entire collection is worth it just for the song "If the Brakeman Turns My Way". I will admit the beginning of the album is better than the ending, when the songs got kind of dark, but hey, it's Bright Eyes! It's still the same music, just showing more maturity and finesse, and in my eyes rates in his top 3 works--Lifted, Wide Awake and Cassadaga. You'll always get a surprise from Bright Eyes (think Digital Ash).

Bright Eyes are known for strong lyrics and experimental music. This album accomplishes little of both.

The lyrics aren't quite as strong as ones found in previous albums (Wide Awake, Digital Ash, The Story is in the Soil). There are a few strong songs lyrically, but somes songs have the "rhyme forcing effect".

It's not very strong musically either, as a lot of the songs drag and seem to be using the same melody. Throughout listening to the album I kept waiting for the songs to reach "Bright Eyes quality", and felt somewhat let down.

Buy the album if you don't mind paying the price of 13 songs for 4 or so worthy songs.

Just take some time and listen, chances are you'll keep listening for a very long time. People complain about his voice, but I don't understand why. His lyrics are unmatchably magnificent, and the nice acoustic sounds match very well. If you're looking for a good listen - buy this. If you like folk - buy this. If you're looking to get into Bright Eyes - this is the place to start.

This is the kind of music that your soul NEEDS to function! It's breathtaking!

I would hate to call what Oberst does shtick. He obviously has talent, and has obviously been refining his technique to allow a broader audience without compromising his sound...in fact, not compromising it enough. Let's not overstate his songwriting abilities- they are keenly aware of taking traditional roots-rock forms and injecting edgy minor progressions, hardly more. Good move on his part then, to provide counterpoint with more electronic-based dabblings the same time as this release. He still has a ways to go writing that masterpiece everyone suspects he is capable of, hinting with a few of his most solidly strummed songs yet. Yet the whole album suffers from typical embedded mediocrity inherent throughout much of his predictable techniques (perhaps many forget this with the powerful standout 1-2 closing shots, a technique used all too often for falsely fresh aftertastes of questionable wholes).

All of conor obersts music is genius but this seems to be the crowd favorite.
and it has every right to be the best bright eyes album.
These songs are brilliant pieces of poetry sang by a poet and music played by amazing musicians.
guest vocals by emmy lou harris make a splendid appearance and songs like Lua First day of my life and Landlocked Blues show how touching and emotionally powerful this album truely is.
It is one of the best albums ive ever heard.

No questions asked you must buy it. i promise you will like it.

I didn't really know anything about Bright Eyes or Conor Oberst when I ordered this CD. I ordered it because I read about the song "I am nowhere, and it's now" and listened to it on youtube. Oberst's voice really struck me as raw and exposed and vulnerable, while the harmonies by the ethereal EmmyLou Harris weaved in and out of the song seemlessly...That, coupled with the review that I read on this site, sealed the deal for me and I had to order it. Since receiving this CD, it has not left my CD player...it's terrific and I'm loving it. The stories that Oberst tells lend themselves perfectly to the vulnerability in his voice and the music is clever and wonderful. This album is brilliant and I have already recommended it to friends!

I discovered Bright Eyes after I was informed there was a video my boyfriend liked and had taped it off of Logo. A dreamy little acoustic ballad called "First Day Of My Life" it quickly became our song, and I ran out to buy the CD.

As I began some research I discovered I was probably the only person who hadn't heard of Bright Eyes as he was deemed some kind of indie musical genius around the time of this album's release, being compared to Dylan and the like, and always being known as having recorded since the age of 13, Conor Oberst, the man behind Bright Eyes (it's just him and a revolving door of musicians) released this album in early 2005.

A set of acoutstically driven sometime country flavored songs, its ten songs of wordy poetics and longing - my favorite things. With Emmylou Harris showing up for some harmony there's a lot to really gather in these ditties - "Another Travelin' Song" reminds me of some Dylan while the awesome words of "Poison Oak" and the drama of "At The Bottom Of Everything" reminds me of old story songs of the 60s and the cool calm collective of people like Joni Mitchell and Emmylou. It's an interesting little bit of musical poetry for sure.

So Bright Eyes has been a predominant figure in indie rock for years, but a lot of it was due to this album.
Lifted starts and ends with a simple point: Hope and Defeat. Every song on this album circles around these ideas as well as continually within songs mentioning the idea of being "Lifted".
If for no other reason, buy this album for the last track. Before I heard this, I was a little skeptical of Bright Eyes and this album, but basically the last song on the album, "Let's Not S*** Ourselves" summed up everything that I as a song writer have been trying to say in all of my songs, but somehow he wrote my words, and with perfection.
I will warn that sometimes this album takes awhile to grow on some people, so give it a shot, and be patient.
Musically this is still Bright Eyes' best album to date. The genres range from indie rock, to folk, to country, and even more of an electronic style of beat from time to time, and somehow they meshed them all together into a brilliant album that demands to be listening to rather loudly from front to back. A true work of art.

I bought Lifted on vinyl recently and I have to say it must be one of the most beautiful things I've ever heard. Every song just pours warbly emotion and honest yearnings. The lyrics can be cuttingly blunt and oddly abstract, but they hit you where it counts. Conor's voice is an instrument in and of itself; I guess one of my favorite singers can't really sing, but it wavers with the intensity and earnestness you don't often hear from musicians.

Buy this. From start to finish it's endless poetry to music.

Give this one a few listens and it will stay in the rotation forever...having come late to the Bright Eyes party (after seeing him post-Wilco on Austin City Limits a few months ago) - and ignoring tremendous reviews in Paste, et al - I've got to say that Conor Oberst is outstanding.

Heartfelt is an understatement -- terrific music (even occasional steel guitar) -- lyrics to rival anyone...

I'm Wade Awake still Bright Eyes' best album, but believe me, give this a shot - you won't be disappointed (regardless of your politics).

Anyone with a remote interest in Ryan Adams, Gillian, Wilco, Sufjan needs to give Bright Eyes a try...

Lyrically this album is near unparallelled in its blunt honesty. You've got to have a taste for the type of vocalization of Oberst's, a warbly jitter, or you'll instantly dislike the album. The music behind the lyrics ranges from Country (along the lines of bluegrass) to semi-industrial ("Lover I Don't Have To Love"). It has recordings that are pieced together from a lo-fi singalong to brilliant studio quality.

I have to say though, that the most compelling plotline of Bright Eyes' work here, or through their other albums to this one, is that Oberst has captured a page from the semi-obscure musician, Daniel Johnston. Agree or not, you can hear the resonance of Johnston's work, a decade later in the work of Conor Oberst's early works. I'd have to believe that if Johnston hadn't drown in obscurity and mental illness he'd sound a lot like Bright Eyes today.

"Lifted" is, in my opinion, currently, the definitive work of Bright Eyes. This is a great place to start if you are delving into their catalogue.

Having listened to this album from a band I had never heard before I was at first uncertain, but it was listed as "inspirational" on eBay from a seller I liked. I listened to it on a plane headed for my new destination. The album took me on a musically/lyrically beautiful path. The songs have a soul and heart unlike 99.9% of most music out there. I can't compare it to their other albums since I have not heard them, but that shouldn't discourage someone from buying this cd. Indie music isn't mean to be rhymically perfect or rhyme. It shouldn't have to answer to any review on it because it stands as a testiment of music that must be heard and played. It is meant to save us from ourselves and this hell we live in(no matter where in the world you live). Even if it only makes you happy when you hear it, it has done its intentions. Music shouldn't have rules and if you want it to, then listen to every other kind of music they is regurgated by the corporate industries, but leave indie be. It just might save a wretch like me.

It would be nearly impossible to mention a Bright Eyes record (especially early ones) without mentioning how young Conor Oberst is. And he's lucky to be so young so that he can be forgiven for his pretensions. People must have been throwing the label "genius" around so much in the late 90s that he believed the hype. Almost nothing on Fevers and Mirrors is worthy of all the indiscriminate gushing. This is a sub-par indie/alt/folk/rock record that pretends to know the answer to great mysteries and thinks it's haunting and beautiful when it's really mostly turgid and uninspired, with vocals more often wavering and unaffecting than soulful and impassioned. Oberst is earnest enough, saving him from some modicum of embarrassment, but at this time he delivers artless and inelegant ruminations on subjects that inexperience and youth can't deal with. The way he arranges and crafts the language proves two things: he's ambitious enough to emerge in a few years as a worthy performer and artist and that enlightenment doesn't often come easily for the gifted. It's a display of overwrought affection; he falls in love with every word that escapes his lips and judging by the quality of his vocal expression, he wants to suck each syllable right back to taste their store-bought nectar.

It opens with an unnecessary recording of a child's voice. Near the end is a mock interview with Oberst (or an impersonator). The listener's stomach rolls along with his eyes. In between is a rollercoaster of quality with far more freefalls than soaring climbs. It's saved (well, almost) by rare good tracks like "The Calendar That Hung Itself" and "Haligh, Haligh, a Lie, Haligh." That these small moments of redemption can seep through the bog is nothing short of miraculous. Honesty can't even flourish in this place; its overrun by too many borrowed "weeds." I fell back on this after being rather impressed by his two simultaneous 2005 releases. It seems that age is the ultimate antidote for naivety. The Oberst of 2000 merely showed a few sparkles of promise twinkling in a great grey sea of ichor; in five years he'll be almost deserving of the virtual deification. It's not dreck, but it's the sort of beast that gets attention simply for being. No one should anoint a prodigy until the worth is measured and then finally achieved.

Best cuts: "The Calendar Hung Itself," "Haligh, Haligh, a Lie, Haligh," "Sunrise, Sunset," "Something Vague," "The Center of the World"

When i first heard Bright Eyes i actually considered their music to be some of the worst i'd ever heard. I hated it, but my friend kept ranting on about how talented Conor Oberst is and how moving his music, so i went out on a limb and bought an album (Lifted, or The Story Is In The Soil, Keep Your Ear To The Ground). I somehow feel in love after the first listen. Everything my friend had told me was true and i was forced to admit to the fact that she was right and i was wrong.

After that I found anything and everything i could by them and I can asure you that this is the best single collection of Bright Eyes songs ever written. I admit, this album is challenging, but just take the oppurtunity to sit back and listen to what Conor has to say and I guarantee that even if you don't appreciate the music you will appreciate the brilliance of this young man. Bright Eyes is one of the very few great voices of today's young America.

Comparing Oberst's music to Dylan's is very unfair. Unfair to Oberst, that is, whose music exceeds that of Dylan in both ambition, and execution. This album is certainly Dylanesque, as it follows Dylan's tradition of redefining folk music as an attempt to lyrically highlight problematic trends in human behavior, and their impact upon the identity of the individual. But where Dylan attempts this mostly through intentionally precious lyrics soaked in beatnik sentimentality, Oberst willingly explicates many of his own anecdotes, allowing the subtlety in his music to dwell within its style rather than lyrical ambiguity. Many of his songs contain five or six poignant lines, any of which could be the product of a whole evening of discussion between friends, and their philosophies on life. Like Coleridge did with his conversation poems, in this album, Oberst addresses the listener with a friendly, pensive sincerity, combing over his experiences and reactions to them in search of some greater conclusion about how human behavior, and society's values, can be improved.

If you're impatient with friends who attempt to engage you in deep discussion, you probably won't like this album. If you're only impressed by music that is dogmatically hip, these songs probably won't do much for you. And if you think that you have everything figured out, concerning how relationships should be formed and how people should communicate, and other perspectives simply irritate you, then you'll especially dislike this. But if you generally like literature at its most idealistic and meaningful, then you will find that this is such literature, in song format, and you should eat it up. I also highly recommend the album, "I'm Wide Awake, It's Morning," by the same artist.

A beautiful collection of songs that hints broadly at the amazing albums to come...Standout songs include The Calender Hung Itself and Haligh, Haligh, A Lie, Haligh.

Most of this album makes me want to bash my head on the wall. Repeatedly. However, there are 4 or 5 songs I actually like. I have fun wailing along with Oberst's ridiculously melodramatic, warbling vocals, thinking all the while, "Oh, woe is me! Oh, alas, I'm SO depressed... NO one understands me, NO ONE!" To the people who hate this album, try to see it in a new light... it's FUNNY! If you still hate it, no problem. I understand. (I'm also surprised more people don't find the "interview" humorous. It makes me laugh every time I hear it.)

Digital Ash is a bittersweet symphony. It is the warbling voice of Conor Oberst lurking somewhere in resignation between hope and despair. It is a dark work of art that plays hide and seek with electronic shadows and acoustic lights. It is, perhaps, his "Sgt Pepper's" and what's scary is that he can do better. And he no doubt will.

The drum loop and synth-heavy instrumentation heard on most of the songs on this album, simply doesn't work. And for the most part, this isn't a major problem. All of Bright Eyes' typical stong points are present and accounted for, here. Digital Ash... features stylish takes on simple folk song structure, a level of personal honesty that is hardly replicated in the best of Jackson Browne, and tight lyrics that constantly possess a certain biting edge, while retaining tone within each song. Perhaps this album would have received better reception if it had been released a few months before I'm Wide Awake, It's Morning, and under a different title. That way, even though the unconventional instrumentation would have still been recognised, the record wouldn't have so tempted critics to consider it a throwaway, nonserious attempt at adding to the Bright Eyes canon. "Hit the Switch" would have been a great title for this album, since the entire record explores the themes outlined in that song.

In the song "Hit The Switch," Conor sings about the easy dismissability of his friends, when the pattern which he had previously imposed on the development of his relationship with them "all stops making sense." In the song "Take it Easy (Love Nothing)," the narrator has accustomed himself to using the phrase "Take it easy." when he wants to shame a potential lover for having feelings for him, while if he were more honest, his catchphrase would have instead been "I love nothing." And what is his justification for having been driven to adopt this popular, yet subtly-sociopathic attitide? Well, he was romantically rejected. Once. Poor him.

During many of these songs, Conor 'tells it like it is' in a way that he hasn't since many of his early b-sides, like "A Perfect Sonnet," "Amy in the White Coat," and "Soon You'll Be Leaving Your Man." Here, rather than focusing on the finer points of emotion caused by feelings of being oppressed by reality, the focus is specifically on personal disingenuity, and these songs criticize it ruthlessly. This may be one of the weaker Bright Eyes albums, but it is still solidly with five-star territory, and if you doubt it, pretend that it came out under a different name, either before or after "I'm Wide Awake..." and just listen to the songs, and to the album as though it were "the new one."

Digital Ash... is a beautiful collection of insensitive music for sensitive listeners. And if you enjoy any of the band's other albums, you should discover that it truly does belong alongside them.

Holy moly, touched by the hand of god just begins to describe the wonders of this little overlooked album. Beach Boys' 'Pet Sounds' song structure meets Depeche Mode's 'Black Celebration' production. One for the pop ages, this one. Melodies so startling thick they trip over themselves from start to finish. Typically strong lyric: "when the smoke came out our mouths on all those hooded sweatshirt walks/ you were a stroke of luck/ we were a goldmine and they gutted us".

A hot-house flower of an album, probably unable to be duplicated. The initial bewildered reaction to this album now over, it should grow in appreciation nicely. Ahhh, if only good music were stocks...

Have you ever read those stories wherein an artist gets into a battle with their record company because the label hates the record, it doesn't sound like the artist and they can't hear a hit? Ever wonder what those records sounded like? Well, welcome to "Digital Ash In a Digital Urn." After several albums of really fine folk music with incredible lyrics, the ever-ambitious Conor Oberst decided he'd release two albums at once. The first, the five-star worthy "I'm Wide Awake, It's Morning" is everything you'd expect. Insightful lyrics, beautiful melodies and even EmmyLou Harris. "Digital Ash In A Digital Urn" is the sound of an artist stepping outside his range to really bad results.

Conor discovered the synth and decided to write about machine music. And unfortunately, that means every cruddy lyrical cliche about programming, man-machines, time codes, circuit boards, life and death in the digital age. Frankly, every thing you've heard done a million times better by the likes of Kraftwerk, New Order or even The Buggles. There's hardly a memorable melody or even an interesting song to be found here.

Really, if this had been on a major, someone with a lick of sense might have been able to talk him into working a bit more on the better of these songs ("Take It Easy" maybe) and re-cutting them later. But since Bright Eyes is essentially Saddle Creek's bread and butter, no-one was going to tell the kid the "Digital Ash" was a digital dog. Be honest here; if this wasn't Bright Eyes, it would be laughed off as amateurish electronica. I give it 2 1/2 stars because the best two songs here are really great, but the context is ill-suited. Get "I'm Wide Awake..." if you really want to hear why fans and critics are nuts about this guy.

I really was suprised by the massive amount of negative buzz surounding an album. But, after reviewing Conor Oberst's track record, I knew I had to give this album a chance. And I did buy it, and I don't regret doing so.

Released as the companion piece to the bright, acoustic I'm Wide Awake, It's Morning, it shows off not just the plugged in/unplugged style of Conor, but instead the total opposites that exist inside his mind. Morning allows for bright, almost cheerful acoustic songs, while Digital Ash showcases intense melancholy. And, honestly, I couldn't be happier.

When the drumming, strings, and female vocals connect on "Down in a Rabbit Hole", you feel that Conor is up to something amazing. His more conventional fans hated this, but i was a great chance for conor to experiment, and it paid off well. Best Songs include Time Code, Light Pollution, and Down in a Rabbit Hole.

Just take some time and listen, chances are you'll keep listening for a very long time. People complain about his voice, but I don't understand why. His lyrics are unmatchably magnificent, and the nice acoustic sounds match very well. If you're looking for a good listen - buy this. If you like folk - buy this. If you're looking to get into Bright Eyes - this is the place to start.

This is the kind of music that your soul NEEDS to function! It's breathtaking!

I would hate to call what Oberst does shtick. He obviously has talent, and has obviously been refining his technique to allow a broader audience without compromising his sound...in fact, not compromising it enough. Let's not overstate his songwriting abilities- they are keenly aware of taking traditional roots-rock forms and injecting edgy minor progressions, hardly more. Good move on his part then, to provide counterpoint with more electronic-based dabblings the same time as this release. He still has a ways to go writing that masterpiece everyone suspects he is capable of, hinting with a few of his most solidly strummed songs yet. Yet the whole album suffers from typical embedded mediocrity inherent throughout much of his predictable techniques (perhaps many forget this with the powerful standout 1-2 closing shots, a technique used all too often for falsely fresh aftertastes of questionable wholes).

All of conor obersts music is genius but this seems to be the crowd favorite.
and it has every right to be the best bright eyes album.
These songs are brilliant pieces of poetry sang by a poet and music played by amazing musicians.
guest vocals by emmy lou harris make a splendid appearance and songs like Lua First day of my life and Landlocked Blues show how touching and emotionally powerful this album truely is.
It is one of the best albums ive ever heard.

No questions asked you must buy it. i promise you will like it.

I didn't really know anything about Bright Eyes or Conor Oberst when I ordered this CD. I ordered it because I read about the song "I am nowhere, and it's now" and listened to it on youtube. Oberst's voice really struck me as raw and exposed and vulnerable, while the harmonies by the ethereal EmmyLou Harris weaved in and out of the song seemlessly...That, coupled with the review that I read on this site, sealed the deal for me and I had to order it. Since receiving this CD, it has not left my CD player...it's terrific and I'm loving it. The stories that Oberst tells lend themselves perfectly to the vulnerability in his voice and the music is clever and wonderful. This album is brilliant and I have already recommended it to friends!

I discovered Bright Eyes after I was informed there was a video my boyfriend liked and had taped it off of Logo. A dreamy little acoustic ballad called "First Day Of My Life" it quickly became our song, and I ran out to buy the CD.

As I began some research I discovered I was probably the only person who hadn't heard of Bright Eyes as he was deemed some kind of indie musical genius around the time of this album's release, being compared to Dylan and the like, and always being known as having recorded since the age of 13, Conor Oberst, the man behind Bright Eyes (it's just him and a revolving door of musicians) released this album in early 2005.

A set of acoutstically driven sometime country flavored songs, its ten songs of wordy poetics and longing - my favorite things. With Emmylou Harris showing up for some harmony there's a lot to really gather in these ditties - "Another Travelin' Song" reminds me of some Dylan while the awesome words of "Poison Oak" and the drama of "At The Bottom Of Everything" reminds me of old story songs of the 60s and the cool calm collective of people like Joni Mitchell and Emmylou. It's an interesting little bit of musical poetry for sure.

The debut from modern folk-prodigy Oberst was a noisy, rambling, sometimes melodic wreck of an acoustic-based, whine-intensive album which often disguises a songwriting edge with harsh production accentuating grating vocals. Still, at a mere 18 years old it was no wonder that borrowed charisma and instrumental knowledge combined to turn many heads in the industry. Behind the jangly and blatant pleas for attention this Dylan upstart had forged for himself at that point (fractured, goaty vocals and dissonant, musically frustrated climaxes) lies an undeniable songwriting intelligence that shines brightest in tiny transitions while Oberst is not so determined to convince his listener he is in pain.

this album to me demonstrates purity at its best. yes it is raw. there isn't much studio work to it. it's honest and painful at it's most beautiful. anyone who appreciates true feeling needs to hear this. this is an album full of quoteable lines. one of my favorites is "i can't breathe with these words in my mouth." a sentiment we have all felt at one time or another. it pulls out every emotion unapologetically for the listener to feel. good and bad. pleasant or uncomfortable.

Yes, in my opinion this is Conor's best release. He was pretty young when recording it, but i find every single song on it to be very enjoyable, and worth listening to. Very lo-fi but the lo-finess is what makes it so great.
It is the imperfections on this album which just in turn make it perfect.

I am a huge Bright Eyes fan, and even though I don't think this is Oberst's best album, it is the most admirable. He was 17 and 18 when it was being recorded. I am the same age and all this makes me think is, "What am i doing with my life?" That and Conor Oberst is amazing. The ups and downs on this album are great and, as always, the lyrics are both everything you had always thought and things you had never thought of before. Definetly a good buy.

This album is great for any Bright Eyes fan.I haven't been for a long time but well enough to know that they're awesome.The first Bright Eyes cd I ever got was the "LUA" ep.I loved Well Whiskey,and True Blue.After that I got Digital Ash in a Digital Urn and liked it. Those are the only two I had before I got "Letting off the happiness" for my birthday. I think its the peak of Bright Eyes albums.I hope you get it and enjoy it.

The intro instrumental stands as a pretty cool jam to start this cd off. The rest of the album is obviously a low-fi recording that conor and friends pretyt much did from their basement/garage. It's good if you love his voice, but for my tastes the predominatly acoustic tracks are a little too slow. I love Bright Eyes' work, but this is the weakest of it in my opinion. Don't buy it first if your just getting into BE, buy F and M or a newer album first.

honestísimo conjunto de canciones de Oberst que probablemente sirvan para sus fans más incondicionales. La calidad de la grabación es ínfima, la voz de Oberst parece proceder de un estado clínico terminal y duele escucharle. Si Elliott Smith hubiera grabado estas mismas canciones tendríamos un cd impresionante, pero con la voz del pobre Connor se queda en una grabación colegial emocionante pero musicalmente pobrísima. Me havenido a la memoria la colección de acústicos de Lennon que salvando las siderales distancias tiene una producción musical igual de sofisticada. Se diría que la misma Yoko Ono está detrás de estA grabación ( de hecho hace voces de fondo en la pista 8 " Driving fast.....". Saludos

listen to saturday as usual by bright eyes and tell me he's being serious. he can't be. this isnt even funny. this is just sad. not in a cool emo way. people really enjoy listening to this guy's music?

this is conor oberst at his roots i love this album it shows the real bright eyes not the highly publicised conor it is all about the music

Wow. Amazing.

Best Tracks = "Exaltation on a cool kitchen floor" "The awful sweetness of excaping sweat" "A celebration among completion"

Buy it. Now.

I love this album. Track 2 is impossible to get out of your head.
The use of the steel guitar and mandolins and kinda twangy stuff might turn some people off but I thought it was tastefully done. Think of the Wide awake album and replace the blues influence with country/bluegrass influence.

This is a good ep from Connor, even though if, from what I've heard of Cassadega, it may contain some better songs than his upcoming album. But, nevertheless, this is great, and I really hope further listening will make Cassadega come alive for me. I don't know why, but, even with the folkish greatness of Four Winds, Connor has chosen to pursue the country side of his sprawling LP, Lifted or The Story Is In the Soil Put Your Ear To the Ground, rather than the beautiful folk/indie stuff from his earlier, more brilliant Fevers and Mirrors and Every Day And Every Night. He explores a little of that on Cartoon Blues and Reinvent the Wheel, but he seems to be countrifying his new stuff. Which, frankly, is a little disapointing, because, while every Bright Eyes song is a work of genious, he seems to be teetering a little too close to the country side of American radio for my liking. But, like I said, I hope it does get better than my initial perception is telling me. Buy this ep and his older stuff and hope for the best.

It is always scary to hear the hyperbolic comparisons journalists love to give certain musicians when they've accomplished what may be their best work to date. In Conor's case it was also a curse that he ahd to get rid of.
By sampling only the tip of what Cassadag awill be, Four winds EP gives us a new respire and new reasons to believe Bright Eyes cannot and will not be tied down to allegories of "the new this" or "the young that" that its lead singer received two years ago.
Opening track Four winds is a more upbeat song if we compared it to anything included in I'm awake it's morning", while 'Smoke without fire". duet with M. Ward takes us back to the times when he was relatively unknown and his ballads sounded like a cry more than a song/ 'Stray dog freedom" explores more the sound of southern rock with louder guitars and a more proper verse-chous-verse structure. Closing track "tourist trap" proves to be the real gem, like in most of his previous EPs.
Although a tease for those of us waiting for the complete album, this EP is worth every penny. Get it, enjoy it, and find out why Bright Eyes music makes the fans rave and passionately love them.

Apparently someone turned on some vintage rock'n'roll around Conor Oberst, because the Bright Eyes' latest EP is very different from their last two albums. Instead, the "Four Winds" EP embraces an entirely different sound -- countryish, folksy, and with a dash of music-hall at times.

"Your class, your caste, your country, sect, your name or your tribe/There's people always dying trying to keep them alive," Oberst sings in the title song, tearing through a dour song over a rootsy fiddle and guitar, Mexican girl murals, long shadows, the US's existance, and crumbling society.

It's followed up by the strings and alt-rock of "Reinvent the Wheel," and the quietly folksy "Smoke Without Fire." But then it's off to rock'n'roll-land, with the sizzling slow-burn riffs of "Stray Dog Freedom," distorted country-rock of "Cartoon Blues." And he finally finishes it off with a sort of ghostly folk song, full of harmonica and tapping feet. It sounds like a ghost town's theme song.

Conor Oberst always seems to be diddling around with new sounds -- the last two Bright Eyes albums were basically in two entirely different styles. And "Four Winds" shows us a more uptempo, country-inflected side of the band, without losing the doom'n'gloom sociopolitical lyrics.

The music is pretty straightforward -- lots of acoustic guitar, some strings that can shimmer or twang, and the occasional bit of harmonica. And some rapid-clashing piano in music-hall style. And he diddles around with distortion that twists an otherwise ordinary song into a bizarroworld pop tune, with a "baby" voice echoing his.

Despite the upbeat note of most of the music, Oberst always sounds on the verge of tears. No wonder, since his songs predict America's collapse, mocks those who call him a poser, contemplates drugs and "something changing the world/like a new constitution/a thief I would have to pursue/at all times/at all costs/the truth!"

Bright Eyes has a new album coming out soon, and if this "Four Winds" EP is a representative sampling of what's ahead, it's going to be a good one. Different, but enjoyable.

After listening to the new CD single "Four Winds", I am so wet for the forthcoming Bright Eyes album CASSADAGA!

There are 5 non-album tracks on the single. All of them bloody brilliant. The things Conor throws away would make a Dylan out of Robin Thicke!

"Reinvent The Wheel" is among the finest songs Oberst has ever written. Lines like..."the TV sets will tell us when someone reinvents the wheel / till then I'll have a million conversations about s___ that isn't real' ...cut to the bone atop a bed of bouncy pop guitars, Springstonian harmonicas & Opry strings.

A collaboration with M. Ward on "Smoke Without Fire" is dark and brooding.

I was among the few who preferred "Digital Ash" over "Wide Awake". One reason was the line..."my stray dog freedom / let's have a nice clean cut / like a bag we buy and divvy up". Here he offers up "Stray Dog Freedom" in a whole other context. With a sublime guitar lick that is rooted in mid '70's AM rock, Conors' dog is a Cerberus beast that faintly resembles the smoldering remains of the "American Dream". Again, it's among his best work ever.

As is "Cartoon Blues", proving for the umpteenth time that there is nothing this kid cannot do.

The "Four Winds" disc is beyond a shadow of a doubt the finest CD single I have ever heard.

I can't wait for this album!

Well, before buying this I had never even heard of bright eyes. Just so you know my background, I generally dislike indie and Emo. I usually listen to hardcore and Screamo. But for some reason I became interested in this band. (or person)
Someone compared a CD of their's to A Death Cab CD. Me being a pretty big Death Cab fan, I decided to go out and buy this EP to see if I liked this band at all. This review is the result of that listen.

The EP opens up with the slow acoustic guitar picks of "a line allows prgress"... A few seconds into the song I am greeted with with drums and an organ. This song sounds like a slower Cursive song. The guy's voice sounds decent. I guess the vocal effects he uses are for emotional purposes. Overall this is a pretty decent song. It reminds me of hotel california.

Next in line comes one of my favorite tracks on here: "a perfect sonnet". I don't know if it's the simple guitar stum or the sense that his voice is going to explode any moment. Seriously, the whole song I was thinking that everything was about to fall apart...but it didn't. He keeps going and going. It must be his voice that creates this mood. This was also the point of the CD where I realized that it was a bit more than music I was listening to. Bright eyes will make you feel moods that other music can't. It's got a unique brand of emotion that is new to me. It's too bad this song ends so quickly.

As I press on to: "on my way to work" I begin to get the feel for the CD. He's almost whispering on this track. There's an odd sounding guitar picking and a country sounding synthesizer. Quite frankly, I hate this song. It sounds like an offkey country ballad... Who wants that?

The next two tracks are more or less the same feel. A new arrangement provides better quality music than the craptastic on my way to work, but doesn't reach the level of A perfect sonnet.

Finally, the EP is ended with the techno atmospheric: Neely o hara... I don't know what to say. It's meaningless. I don't see how you can like this. It's just pointless.

Overall this is a half and half EP. The first two tracks are good... But the rest of the CD falls between failing and decent. If Bright Eyes good churn out more tracks like a perfect sonnet, this band would get at least a 4 star. Sadly thats not the case. So I don't recommend this for anyone other than the really dedicated fans. Perhaps the other CD's are better.

God it is soo perfect that i cant even begin to describe.

Every day&Every night starts with "a line allows progress,a circle does not",a song that also holds the album title inside its gracefull lyrics;"this feeling always used to pass,but now it's every day and every night."it is a song about someone who forgot the purpose of her life,someone totally lost and alone, have nothing to do but get drunk and looking for an exit desperately.As they always does;conors lyrics tell the story in a natural,mournful way with lyrics that will haunt you whenever you hear them in your ordinary life.The song will pass you by with its haunting guitar melodies and will probably leave you questioning your own life,possibly with tears in your eyes..

Then,as you think if connor can ever do anything more touching then this one,"a perfect sonnet" will begin.And believe me no words i say is enough to tell you how touching,moving,rocking, devastating this song is!!As the song gets slower and faster over and over,it will make you think about each line connor tells,each section;which is another dagger to your heart,and you may cry over and over screaming this song in nights thinking of everything you did wrong and everything you've lost for all your life.

Ýt's a classic bright eyes song,what can i say?!!!

"Then comes on my way to work" a song questioning about the passing life and death,in a way that you dont really wanna like thinking about.The song is not that great as overall,but it is still bright eyes,and it has the quality to turn you upside down in the moment you least expect,by some line you've missed out before,or some piece of melody that you havent noticed...

A new arrangement;it resembles to arienette,one of the greatest bright eyes song ever;it's not as good as arienette but it is like a passage,a preparation to it.The most of this ep resembles fevers&mirrors,so if it has been released just before it,it'd make total sense.

The last song,i didnt got into it yet,never even listened it with all my ears but i'm sure sime time from now i'll really see what that song is about and it'll effect me just like all the others did in time.


A final,important note..Yes ; bright eyes songs are not songs to listen and just,like.You need to be ready for the songs and for the things he'll say to you,otherwise they will probably not make sense.

i see that some people are giving low stars to bright eyes telling that BE is not a great musician or a lyricist as we all say,and they blame him for pretending to be sad.and i just want to say that i know,that these people are just not ready,or not strong enough for him,and sadly some of them will never be.

but if you are one of those deep people,still confused about the way life works and ends,or figuring out how love matters to give a meaning to it all,buy this EP..you'll not regret i promise

listening to a variety of bright eye's albums over the last few days in particular, i found myself disecting the "depressive" feel to it all. i've decided that bright eye's music isn't depressing at all. it's just realism with a dark use of symbolism/metaphor. I think that the utter darkness of it all just helps to force the listener into thinking about it all at a deep level. it moves you to really consider the notions and concepts that he picks at.

anyway, anything by bright eyes is definately worth purchasing, and i hope people who maybe thought otherwise at first, can understand his music a little better after reading this :)

Every Day and Every Night is indie rock(?) at its best. It packs a lot of emotional punch without any cheese! Its poetic and highly interspective. Conner Oburst deals with a lot of darkness in the this EP. AND, it just sounds good. The style is dynamic: melodic and catchy yet original and unconventional. I could decribe Bright Eyes style as -elements of blue-grass and folk combined with acoustic indie rock. Sometimes there is screaming/sobbing, sometimes there are clean cut, pretty harmonies. That sounds strange I know. But give it a chance if you like bands like Cursive, Grandaddy, Modest Mouse, etc. Every Day and Every Night is deep and passionate and if you're deep and passionate, you just might like it.

This was the second Bright Eyes cd I purchased and I was quite impressed. Some of the songs on this cd have a deeper (more bass) sound than the songs on "Lifted" and it makes for a very interesting sound. I think that this cd, especially "A Perfect Sonnet", shows off Conor's poetic genius more than a few of the songs on "Lifted" do. The speaking transitions after "On My Way to Work" and "Neely O'Hara" are wonderful and should not be skipped. Every song on this cd is well worth it and there are no songs that will keep you from putting this whole album on repeat. Even though it is only five songs, it will leave you wanting more of Conor and his emotional poetry. Note: I just read "Valley of the Dolls" and discovered Conor's allusion to Neely O'Hara who "swallows her sleep," so just in case you ever wondered who she is, you can read the book and find out more of what Conor meant.