: :
: |
|_ ________________ :
/ \_/ _______ .F i X E D G E A R--------+
| \___/ //________________________________
|_ ._______ ___ ._______________ /|
\_ _____/| \ \ / / | \_ ______/ /|+|FiXIE
| __) | |\ \/ / | || __) _/__|
| \ | | \ \ | || \___ \
| \ /|| | / /\ \ | || \ \
\___ // ||___//__/ \ / | _/ \ \ \
\ \// \__________/\\/ |/ \___________ ._\
\_____/_______________________... |
| |
_| |_
+_________\ p r o u d (t o) p r e s e n t /_________+
| |2
| |0
| ---- + Release Info + --------------------------------------+ |1
| |7
. .
Artist...: Conor Oberst
Album....: Conor Oberst
Genre....: Indie
Label....: Merge
Lang.....: English
Year.....: 2008
Source...: CDDA
Rip.date.: 07-19-2017
St.date..: 08-04-2008
Encoder..: FLAC 1.3.1
Quality..: 891 kbps Avg 44.1kHz 2 channels
---- + Track List + ---------------------------------------
01 Cape Canaveral 4:04
02 Sausalito 3:10
03 Get-Well-Cards 3:33
04 Lenders In The Temple 4:35
05 Danny Callahan 3:58
06 I Don't Want To Die (In The Hospital) 3:32
07 Eagle On A Pole 4:42
08 NYC - Gone, Gone 1:11
09 Moab 3:36
10 Valle Mistico (Ruben's Song) 0:49
11 Souled Out!!! 3:32
12 Milk Thistle 5:21
Total Size.: 12 Files/281.7MB/42:03 min
---- + Release Note + -------------------------------------
Both as a prodigy addled with "new Dylan" acclaim and an emo
icon with a bratty attitude and nose-grazing bangs, Conor Oberst
has been a squirrelly performer, whipping between genres and
moods. Still, whether it's Desaparecidos' frantic punk-rock or
Bright Eyes' folksy mewling, Oberst infuses most everything he
touches with an awkward, frantic desperation; as a vocalist he
sounds perennially uncomfortable, muscles tight and prepped to
sprint away from the microphone. On his self-titled Merge debut,
Oberst is focused on making escapes-- moving on, moving over,
breaking out, hitting the streets, leaving it all behind, don't
look back. "There's nothing that the road cannot heal," Oberst
vows in the Tom Petty-esque "Moab", and he's never sounded more
convinced: Conor Oberst figures escapism as its own kind of
religion, a workable belief system for kids that can't sit
still.
The notion of the road-as-savior isn't new-- for one, see
decades of country music, from "Lost Highway" on-- and Oberst
again embraces high, lonesome twang as his medium of choice,
packing this record with the loose country rock that's ruled
much of Bright Eyes' recent catalogue. The pervasive gripe about
alt-country is that it's too gracious, too polite and
predictable, and Oberst occasionally succumbs to Hank
Williams-raising cowboy tropes ["Help me get my boots on, help
me get my boots back on!" he yelps in "I Don't Want to Die (In
the Hospital)"], but mostly, the genre suits his craggy vocals--
and his seemingly infinite supply of wistfulness.
Like anyone on the hunt for meaning, Oberst is compelled by
mystical or metaphysical enclaves (see Bright Eyes' 2007 LP
Cassadaga, named after a spiritualist compound in Florida
populated, mostly, by psychics), and he opted to record Conor
Oberst in the Mexican city of Tepoztlßn (the name of his new
backing band, the Mystic Valley Band, was inspired by the city--
where, legend says, the Aztec feathered serpent god Quetzalcoatl
was born). It's not surprising that Oberst ditched the U.S. to
make a record about flight, but even from Mexico, he manages to
skewer American soullessness: Oberst has always had a knack for
spitting out tiny, dismal nuggets-- "There are pink flamingoes
living in the mall," he sighs in "Lenders in the Temple"-- that
successfully (and succinctly) suggest a kind of cultural and
moral apocalypse. Since his days as a spastic, barking teenager,
Oberst has traded in a lot of his post-adolescent trembling for
a calmer, less unbridled melancholy, but Conor Oberst is still
packed with disheartening realities, and Oberst refuses to
temper his pessimism, even when it starts to feel heavy and
contrived, more like a narrative tic than anything else.
Opener "Cape Canaveral", with its acoustic strums and
barely-there percussion, is a lovely, quasi-nostalgic meditation
of the 1969 moon mission (the "red rocket blaze over Cape
Canaveral"-- an epic escape if there ever was one). The song
ultimately transforms into an ode to movement-as-salvation,
setting the scene for the eleven tracks which follow. "Hey, hey,
hey mother interstate,/ can you deliver me from evil,/ make me
honest make me wedding cake?" he wonders. "Atone, I will atone."
"Sausalito" is a rollicking daydream about camping out on a
houseboat in California; "NYC - Gone, Gone" is a stomping,
distorted burst about leaving New York for Mexico. "Gone, gone
from New York City,/ where you gonna go with a head that empty?"
Oberst demands. "Milk Thistle", which closes the album, is a
grim acoustic song about dying (Oberst never mentions alcohol
explicitly, but milk thistle, a purported hangover cure, is
often employed, holistically, to treat liver disease-- so it
doesn't seem unreasonable to read "Milk Thistle" as a song about
suicide-via-whiskey). "Milk thistle, milk thistle, let me down
slow," he trembles. "If I go to heaven I'll be bored as hell."
It feels like a fitting, if morbid, way to end a record about
escaping life-- about escaping everything.
Url: http://www.conoroberst.com
. .
| |
| |
| |
+________________________________________________since_2012_______+