Garett Press
01/02/06, 07:28 PM
Bright Eyes – Motion Sickness
{SCORE: 7.3/10}
1. At the Bottom of Everything
2. We Are Nowhere and It’s Now
3. Old Soul Song
4. Make War (Short Version)
5. Make War (Long Version)
6. Scale
7. Landlocked Blues
8. Method Acting
9. Train Under Water
10.When the President Talks to God
11.Road to Joy
12.Mushaboom (Feist)
13.True Blue
14.Southern State
15.The Biggest Lie (Elliot Smith)
The Chinese calendar is trying to dupe us! Those artful tricksters will try and try again to convince you that 2005 was the year of the rooster, and by all means you’re liable to believe it. But beware this deceit, and instead take a gander through any music related publication from the year that has so recently faded from us, and then research top 10 music lists from sources ranging from the New York Times to Rolling Stone Magazine, and you’ll soon realize, that this rooster (if he’s even really a rooster), is an imposter… 2005 was decidedly NOT his year. No, this past 365 days belonged to many scattered others, many of them musicians, and perhaps none more so than Conor Oberst and his band Bright Eyes.
Two chart topping albums, one a shimmering portrait of a young man dazed, confused, and inebriated trying to stand ground amongst the dizzying urban sprawl of New York City, and the other a semi-electronic ode to drug and alcohol induced despondence with a hint of existentialism. Touted, praised, and journalistically loved essentially across the board. An indie prodigy! A boy wunderkind! This generation’s Bob Dylan! One massive tour for each of this year’s releases, and then a third to showcase the entire repertoire. Opening spots filled by next big things Tilly and the Wall, The Faint, Feist, and the Magic Numbers. The year’s most controversial download and live performance both provided by a scalding protest song. Believe it folks, all this and more from a man that spent probably less than half this year sober. A wunderkind indeed.
So what’s one more album?
The third Bright Eyes release of the year comes in the shape of a live recording from the early 2005 I’m Wide Awake tour. If by some stroke of misfortune you didn’t make it to at least one of the hundreds of Bright Eyes dates, this snapshot disc is a near perfect way to capture a bit of that magic. The quivering voice of our prolific Mr. Oberst offers up something about two notches higher than what you’d expect. The quality of the recording is above and beyond, which provides for a sonic experience one better than an actual live show. Covering mostly I’m Wide Awake, but also a snippit of Lifted, the songs themselves appear to mixed effect, with the more stripped down numbers poised for greater prowess. As far as extra treats, take advantage of one of the rare occasions where Bright Eyes sounds legitimately jovial as Conor struggles to reproduce the buoyant jangle of Feist’s "Mushaboom", though he trips slightly in the process. As well, we’re treated to a pleasure many have silently fantasized, Conor’s voice and Elliot’s music. Nothing on this record has much of shot next to standout “Landlocked Blues” but this take on the beloved Elliot Smith’s “The Biggest Lie” is a closing track to be reckoned with.
The Bright Eyes b-side “Southern State” sounds precious, allowing Oberst’s voice to stretch and flex itself in all its tormented glory, but what creates the most absolutely priceless moment in this raw live journey is “When the President Talks to God” presented live. It’s one thing to sing a raging political attack into a studio mic, but in front of a sold out live audience is a whole new ballgame. Risking further alienation of conservative audiences Bright Eyes have included in their set one of the more risqué singles of the past decade, complete with a brief introduction from Conor which is not to be missed. Whether or not you concur with his political views, there is undeniable value in any music this outspoken and convicting. No matter the message, artists should receive kudos, even if contrived, for having the courage to stir the thoughts of the American public.
Motion Sickness, at least, is the chronicle of a pivotal moment in the career of a very important young musician. Whether he’s our Neil Young, our Bono, our Bob Dylan, our Johnny Cash, our Kurt Cobain, or our motherfucking Madonna, who really gives a shit? At the heart of all the media coverage and rave reviews is a very real flame, perhaps our only shot at a true generational icon.
In a bold show of support for the underground community, Motion Sickness is available only through select indie retailers. Perhaps the only aspect of an actual Bright Eyes show that feels absent is the always obnoxious energy of an anxious age-varied crowd, and the outrageous chivalry which occurs between that audience and the emblematic performer, beer in hand. Let’s be honest here… they could make a bonus track completely devoted to girls (and guys) screaming, “I want to have your babies Conor!” Or maybe I just foiled the surprise for the fourth album. Our generation may be a little too in love with our boy wonder, but at least after 2005, we have the comfort to know that he exists.
{SCORE: 7.3/10}
1. At the Bottom of Everything
2. We Are Nowhere and It’s Now
3. Old Soul Song
4. Make War (Short Version)
5. Make War (Long Version)
6. Scale
7. Landlocked Blues
8. Method Acting
9. Train Under Water
10.When the President Talks to God
11.Road to Joy
12.Mushaboom (Feist)
13.True Blue
14.Southern State
15.The Biggest Lie (Elliot Smith)
The Chinese calendar is trying to dupe us! Those artful tricksters will try and try again to convince you that 2005 was the year of the rooster, and by all means you’re liable to believe it. But beware this deceit, and instead take a gander through any music related publication from the year that has so recently faded from us, and then research top 10 music lists from sources ranging from the New York Times to Rolling Stone Magazine, and you’ll soon realize, that this rooster (if he’s even really a rooster), is an imposter… 2005 was decidedly NOT his year. No, this past 365 days belonged to many scattered others, many of them musicians, and perhaps none more so than Conor Oberst and his band Bright Eyes.
Two chart topping albums, one a shimmering portrait of a young man dazed, confused, and inebriated trying to stand ground amongst the dizzying urban sprawl of New York City, and the other a semi-electronic ode to drug and alcohol induced despondence with a hint of existentialism. Touted, praised, and journalistically loved essentially across the board. An indie prodigy! A boy wunderkind! This generation’s Bob Dylan! One massive tour for each of this year’s releases, and then a third to showcase the entire repertoire. Opening spots filled by next big things Tilly and the Wall, The Faint, Feist, and the Magic Numbers. The year’s most controversial download and live performance both provided by a scalding protest song. Believe it folks, all this and more from a man that spent probably less than half this year sober. A wunderkind indeed.
So what’s one more album?
The third Bright Eyes release of the year comes in the shape of a live recording from the early 2005 I’m Wide Awake tour. If by some stroke of misfortune you didn’t make it to at least one of the hundreds of Bright Eyes dates, this snapshot disc is a near perfect way to capture a bit of that magic. The quivering voice of our prolific Mr. Oberst offers up something about two notches higher than what you’d expect. The quality of the recording is above and beyond, which provides for a sonic experience one better than an actual live show. Covering mostly I’m Wide Awake, but also a snippit of Lifted, the songs themselves appear to mixed effect, with the more stripped down numbers poised for greater prowess. As far as extra treats, take advantage of one of the rare occasions where Bright Eyes sounds legitimately jovial as Conor struggles to reproduce the buoyant jangle of Feist’s "Mushaboom", though he trips slightly in the process. As well, we’re treated to a pleasure many have silently fantasized, Conor’s voice and Elliot’s music. Nothing on this record has much of shot next to standout “Landlocked Blues” but this take on the beloved Elliot Smith’s “The Biggest Lie” is a closing track to be reckoned with.
The Bright Eyes b-side “Southern State” sounds precious, allowing Oberst’s voice to stretch and flex itself in all its tormented glory, but what creates the most absolutely priceless moment in this raw live journey is “When the President Talks to God” presented live. It’s one thing to sing a raging political attack into a studio mic, but in front of a sold out live audience is a whole new ballgame. Risking further alienation of conservative audiences Bright Eyes have included in their set one of the more risqué singles of the past decade, complete with a brief introduction from Conor which is not to be missed. Whether or not you concur with his political views, there is undeniable value in any music this outspoken and convicting. No matter the message, artists should receive kudos, even if contrived, for having the courage to stir the thoughts of the American public.
Motion Sickness, at least, is the chronicle of a pivotal moment in the career of a very important young musician. Whether he’s our Neil Young, our Bono, our Bob Dylan, our Johnny Cash, our Kurt Cobain, or our motherfucking Madonna, who really gives a shit? At the heart of all the media coverage and rave reviews is a very real flame, perhaps our only shot at a true generational icon.
In a bold show of support for the underground community, Motion Sickness is available only through select indie retailers. Perhaps the only aspect of an actual Bright Eyes show that feels absent is the always obnoxious energy of an anxious age-varied crowd, and the outrageous chivalry which occurs between that audience and the emblematic performer, beer in hand. Let’s be honest here… they could make a bonus track completely devoted to girls (and guys) screaming, “I want to have your babies Conor!” Or maybe I just foiled the surprise for the fourth album. Our generation may be a little too in love with our boy wonder, but at least after 2005, we have the comfort to know that he exists.