MOG

New Wax


He certainly has his share of detractors, but I've always been pro-Bright Eyes, so I'm not quite sure why it's taken me so long to get to this album, but I've spent some time with it lately and it's quality material. More recognizable by his Bright Eyes moniker, Conor makes his debut under his own name on Merge Records rather than Saddle Creek and he strays from his usual formula by opting against using Mike Mogis as a producer. Backed by a new cast of musicians dubbed the Mystic Valley Band and recorded in a private home in Mexico, the album might just be Oberst at his most mature and relaxed. The out-of-tune yelps of his earlier material seem to be long gone and while that frantic and unadorned creative energy will be missed, Oberst has settled nicely into his new folk singer persona. Vocally, Oberst is at his most musical and self-assured, and the arrangements accompanying him are jangly and fun in a way reminiscent of vintage folk. Always burdened by constant Dylan comparisons, Oberst might have actually put out the first album vaguely worthy of such lofty comparisons. Lyrically, the album's imagery is more concise and Oberst's constant allusions to the road give the album an Americana feel. When Oberst sings "There's nothing that the road can't heal" on "Moab," you almost believe him. If Conor Oberst is a sign of things to come for the young songwriter, then we're in for a treat. Hopefully he's just getting started. -- Capt. Obvious