Call Bright Eyes’ front man Conor Oberst what you will: prolific lyricist, over-emotional boy-child or under-appreciated artist, but either way you cut it, he is no slacker.
Bright Eyes’ shotgun release of two separate albums tomorrow will leave shallow pocketed fans asking themselves which album to buy.
One album is filled with grainy-sounding, acoustic folk songs and is reminiscent of past Bright Eyes’ releases; the other is a self-described digital album nearly overflowing with guest appearances that will remind listeners of 2003’s electro-pop group “The Postal Service,” whose Jimmy Tamborello unsurprisingly makes an appearance on one of the new albums.
Depending on which mood listeners are in when deciding to purchase either album, flipping a coin might be the best bet. Undoubtedly there will be die-hard fans for both albums and arguments will develop over which release is best, but if this were a foot race, there would be no clear winner.
“I’m Wide Awake, It’s Morning,” the acoustic album, picks up where 2002’s “Lifted or The Story Is in the Soil, Keep Your Ear to the Ground” left off, mixing creative lyrics and musical talent.
With a wide array of instruments used in “I’m Wide Awake,” including a mandolin, a trumpet and an organ, the record is as much a celebration of musical diversity as it is a vocal notebook for Oberst’s poetry. Clocking in at a shade under 45 minutes, “Wide Awake’s” best asset is its slowed down appeal to voice-over instruments. “Wide Awake’s” first track delves into a 70-second spoken intro to a song dealing with airline passengers crashing into an ocean.
With lyrics such as “We must blend into the choir, sing as static with the whole. We must memorize nine numbers and deny we have a soul. And in this endless race for property and privilege to be won, we must run we must run we must run,” Oberst sets the tone for the album to hash and rehash the inner workings of love and loneliness, which can draw out the album. This leaves, in essence, a soundtrack for the depressed or the voice of a sunny day taken over by a rain storm.
“I know you have a heavy heart. I can feel it when we kiss. So many men stronger than me have thrown their backs out trying to lift it. But me I’m not a gamble, you can count on me to split,” Oberst barely sings on “Lua,” “Wide Awake’s” first single, which debuted at No. 1 spot on Billboard’s Hot 100 Singles Chart.
For the average listeners, Bright Eye’s second album “Digital Ash in a Digital Urn,” will be friendlier to their ears, mixing digital sounds and a band-centric style to offset Oberst’s complicated lyrics.
With a laundry list of artists on the album, such as Nick Zinner of “Yeah Yeah Yeahs,” Jason Boesel of “Rilo Kiley,” Maria Taylor of “Azura Ray” and Clark Beachle of “The Fant,” “Digital Ash’s” credits read more like a yearbook of Saddle Creek Records alumni and current members.
Keyboards, cash register chiming, clocks and layered voices make “Digital Ash” a more complete album when compared to “Wide Awake.” Held together by Oberst’s voice, “Digital Ash” falls into a more radio-friendly caste than previous albums, which may turn away listeners used to the mythos of a single musician with a guitar who is able to sway an audience with only stage presence.
“Take It Easy (Love Nothing)” – the first single on “Digital Ashes” – debuted at No. 2 on the Billboard’s Hot 100 Singles Chart and is one of best tracks on the album, alongside “Arc of Time (Time Code)” and “I Believe in Symmetry.”
Less confined in lyrical topics, “Digital Ash” provides listeners with a sense that Oberst’s often apologetic lyrics stem from an individual who has a turbulent sense of self.
Both albums taken in separate contexts are held together by Oberst’s lyrics, but besides that, they seem as different as night and day.
For the fan who can not decide on which album to buy, the choice boils down to knowing what they like better. For a Bright Eyes traditionalist, “Wide Awake,” will come as no surprise, while “Digital Ash” pushes the envelope and makes it easier to bring newer fans into the fold.
