Customer Reviews

Digital Ash in a Digital Urn

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3 star:		(14)
2 star:		(7)
1 star:		(6)

 

 

"Digital Ash in a Digital Urn" seems like an appropriate name for this album, one of two Bright Eyes has released in early 2005. It's about time and death, and it's swamped in digital music. Indie-rock's golden boy Conor Oberst lets out his inner Thom Yorke in this experimental album, which retains a dark, rough edge but doesn't quite measure up to Oberst's other work.

This time around, Oberst's mournful songs are dressed up in artful synth. Think of this as Bright Eyes' "Kid A" -- an experimental album that may herald a whole new direction for Bright Eyes, or may just be Oberst diddling around in the studio. "Digital Ash" takes some time to get moving, but is breathtaking when it finally does.

While "I'm Wide Awake It's Morning" has a stripped-down, warmer sound, "Digital Ash" is darker and colder -- part gritty rock, part new wave. Its heart is "I Believe in Symmetry," a jagged rock song with a transcendent climax. It's accompanied by the symphonic prettiness of "Gold Mine Gutted," and the cacophonic pop of "Take It Easy (Love Nothing)."

Oberst often overdoes it with all the synth and swelling soundscapes, with some very choppy beats put in. Regular instruments like a snare drum, acoustic guitar and strings keep it grounded. But despite the acoustic instruments, the dense electronic blips take this far away from country and indie rock.

His songwriting gets lost in the mix in songs like the vaguely loungey "Devil in the Details." His vocals also get messed with in a few songs, which just gives the feeling that parts of "Digital Ash" is overproduced. Most of the time his slightly trembly vocals are left alone, rising triumphantly over the multilayered music.

Conor Oberst is often maligned as pretentious, for songs that would be considered genius in an older musician. But his latest two albums establish Oberst as two things -- a talented prodigy, and one willing to take musican risks. Bright Eyes' "Digital Ash in A Digital Urn" is not the strongest work he has done, but it is definitely the bravest.

Conor Oberst, better known as Bright Eyes, has proven himself both prolific and ambitious with his recent release of two simultaneous albums. While "I'm Wide Awake, It's Morning" takes the safer straight-up folkie route, "Digital Ash In a Digital Urn" is by far a more unique listen for its experimental, frothy production that takes Oberst's dependably simple, stream-of-conscious lyrics for a different kind of ride than lo-fi fare can do.

After the lyrically terse opening with the squeaky "Time Code" comes "Gold Mine Gutted," a bittersweet, coming of age tale with an entrancing melody that will stay sticky on the listener's brain. The urgent "Take It Easy (Love Nothing)" makes an instrument out of Oberst's voice with sharp vocal overdubbing, recounting a defunct relationship with a much older woman.

"`Don't take it so bad, it's nothing you did/It's just once something dies/You can't make it live/You're a beautiful boy/You're a sweet little kid/But I am a woman.'"

The singer/songwriter convincingly plays the role of Satan in "Devil In the Details," while later celebrating domesticity in "I Believe In Symmetry."

"Oh I want to learn such simple things/No politics, no history/Till what I want and what I need/Can finally be the same."

Dark humor also occupies the disc on the tongue-in-cheek "Light Pollution," which pokes fun at the American economy, while "Hit the Switch" explores what happens when an individual can take no more and completely shuts themselves off from the world.

Furthermore, Oberst waxes romantic on "Ship In a Bottle," complete with baby cries and romantic clichés, as well as with "Theme to Piñata," which has some of the most mushy words ever set to music.

"Well I wish I had a parachute/Cause I'm falling mad for you/I can see the ground approaching now/But I'm not sure what to do/I feel like the piñata/Once you take a swing at me/If you could just crack the shell open/I think inside you would find something sweet."

While it is not succeeding as well commercially as "I'm Wide Awake, It's Morning," "Digital Ash In a Digital Urn" is in fact a better record with superior stories and crisper lyrics that, while in need of a few initial listens to become comfortable to the ears, eventually settles in. Springsteen and Dylan comparisons may be premature, but it is plain to see that Oberst is a force to reckon with who is sure to continue to pull in listeners with his talent, wit and humanity.

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.

With both albums being released at the exact same time, Digital Ash may at times seem like the "other Bright Eyes CD." And to tell you the truth I felt the very same when it was released. Wide Awake, It's Morning on the surface is a much better listen and more enjoyable. But the themes in "Poison Oak" and "Road to Joy" are both quickly worn out.

"Arc of Time (Time Code)" is probably the best Bright Eyes song in my opinion. It's got everything: fascination with death, fear of religion, and the pondering of the big question. That's pretty much everything Bright Eyes is about. Throw in a line about "blonde hair girls and whisky slurs" and I would dare say it's every theme Connor Oberst has tried to cover. I've seen the song live twice and get more amazed every time.

But like I said, the goods of this album are not easily found. Digital Ash is an album that gets better with each listen. Bright Eyes fans know this is how it happens with many albums. I also bought Lifted... and Fevers and Mirrors at the same time. Lifted... of course became my favorite album in the world. But as I listened to them both over and over, I found that Fevers and Mirrors was a better album, with better music, lyrics, and songs. And I still believe that to this day. Some things in music have to sit inside you for a while before they can be fully appreciated. This album is included there. It is definitely worth buying whether you like indie music or any kind of alternative radio.

I know this might make a lot of people mad... but I think this is even better than I'm Wide Awake. Don't get me wrong, I love that album, it's beautiful. But Digital Ash is even better. I keep hearing people say that it's a radiohead knockoff, which is unfair especially since radiohead didn't even create the whole blip techno thing. Besides, there's only a little of that. Conor also brings in guitars, string arrangments, and layers of beautiful noises. Hardly minimal. It actually recalls some of the more experimental stuff he did on the Let Off The Happiness album. All in all, this album is completly up to par with past releases if not better. Ok maybe not better, just different.
And for anyone who hates the fact that Conor is compared to Dylan, I'm sure you feel the same as people who compared Dylan to Guthrie.

There are generally three kinds of people who had fits over this album:
First, there are those who don't care for Bright Eyes at all. That's totally understandable, we all have our different tastes. The only ones among them I have a problem with are those who like to criticize him for the emotions expressed in his music. Some people may consider anyone who expresses excessive sadness, constant longing, and (gasp) self pity to be a "total poser", but guess what, those are actually emotions that people have. If you want to say that just because you can't relate to something means it isn't art, then you have no concept of what art is. The meaning behind the whole cubism thing went right over my head, but I would be ignorant if I thought that decreased its value as art to anyone else.
Secondly, there are those who are into Bright Eyes, but either don't like the new turn he's taken with this album, or just don't like the genre it resembles at all. Again, totally understandable, but before you have a cow over the departure from his usual style, perhaps you should look at the cd sitting next to it on the shelf. It's called, "I'm Wide Awake It's Morning", and I think you might be happier with it. You see, not only did he experiment with something different, but he was thoughtful enough not to forget all of us who have been craving a good old folk song.
Lastly, there are the "indie rock" snobs who are far to good to listen to anything that could pass for "mainstream", or anything that sounds remotely like what the kid who sits next to them in calculus has in his cd player. To them I say, you're right. This album is beneath you. You should return to your I-pod stuffed with Death Cab for Cutie and Franz Ferdinand because no one listens to them except for you and the entire cast of The OC.

Personally, I like this album a lot. Perhaps not as much as "I'm Wide Awake", but I'd give it about a 4. If you're looking for something like "Lifted or The Story's in the Soil", you may be disappointed. However, if you can let go of the preconception that Coner Oberst is, "like, the greatest songwriter in the history of the world, ever", then you just might be able to see it for what it is- still much better than most of the crap that's out there today. Yes, it's different, but change isn't always bad. You should at least listen to "Down in a Rabbit Hole", and "Take it Easy (Love Nothing)" before taking what the critics say too seriously.

Am I seeing double? No. Saddle Creek's prolific Connor Oberst has released, not a double album, nor a trilogy, but two, simultaneously recorded yet vastly different projects. "Digital Ash in a Digital Urn" is one of the two new Bright Eyes works and represents his more electronic, pop music influences. The other album "I'm Wide Awake It's Morning" is based more in Conor Oberst's folk sound. "Digital Ash in a Digital Urn"'s lyrics focus on the fear of death.but in a festive and dream-like way. The prolific Captain Conor and crew of the S.S. Omaha recruit some heavy weights for this electronic project. Shipmates include leader of electronic music Jimmy Tamberello of the Postal Service/Dntel, Clark Beachle of The Faint and guitar and keyboard cameos by Nick Zinner of the Yeah Yeah Yeahs. Bright Eyes and his guests, make an attempt at converting this young folk singer into electronic musician, with the use of keyboards, programming, and drum machines. Keep reading to find out if they succeed . . .

The album begins with the surreal "Time Code": ambient keyboards, distorted drums, and samples of back ground noise compiled upon layers of tracks. Conor's voice pokes through the mix with a short verse. Shortly after the song begins an alarm clock rings waking us up from the dreamy track and carrying the listener into "Gold Mine Gutted." This catchy lullaby is a very Cure-ish track with its use of simplistic keyboard melodies and Conor's romantic howls. "Arc Of Time (Time Code)" is an upbeat digital track backed with Spanish guitar licks by producer Mike Mogis. The song has a festive Caribbean flavor mixed with a tinge of Violent Femmes. The moody "Down In A Rabbit Hole" keeps a steadfast distorted beat by Rilo Kiley's Jason Boesel met with screeching guitars shrilled by Nick Zinner of the Yeah Yeah Yeahs, backed with lush string arrangements and vocal melodies from Maria Taylor, as Conor sings "If your thoughts should turn to death | You've got to stomp them out like a cigarette." The playful chart-topping single "Take it Easy (Love Nothing)" uses eighties keyboards by Nick of the YYY's and Conor's upbeat guitar jangles along with backwards drum programming delivered by the notorious Jimmy Tamberello. The effervescent song has a pre-written application to be on a modern day Pretty in Pink soundtrack.

The uncanny intro of "I Believe In Symmetry," borrows, note-for-note, the melody of 1984's "99 Luftballons" by Nena, which then takes flight into a full fledge rock track. The manic, guitar-heavy song is the loudest on the album and features some chaotic guitar work from Nick of YYY's then slowly winds down with the rescuing help of the string ensemble. The album takes a quick turn into rock land with tracks "Ship In A Bottle" and Light Pollution." Think The Police on acid (Yes, Sting on LSD) doing show tunes fused with some of the more rocking, manic moments of 2002's "Lifted Or The Story Is In The Soil, Keep Your Ear To The Ground." Towards the end of the album you'd think Conor and crew had dropped some "E" (don't ask if you don't know) or recently returned from a relaxing vacation in the Bahamas. Think Nike Drake if he were contracted to write the soundtrack to the "Pirates of The Caribbean" with Depeche Mode. The tropical, sun-drenched track "Theme To Piñata" uses a crisp, up-front acoustic guitar that shares the stage with island flavored percussion, drums and even some vibes. There are also some nice backing vocals melodies once again from Maria Taylor. "Digital Ash in a Digital Urn" closes with "Easy/Lucky/Free" which is so smooth-sailing you might think you're lying in a hammock. It sounds as if O.M.D (don't ask if you don't know) head-lined on an island cruise ship. In the chorus, Conor and Maria repetitively harmonize "Don't you Weep" in an eighties reggae fashion. But in the verse Oberst breaks off and speaks of a condo on the coast. See, I told you there was some sort of vacation inspiration involved. The song ends with some feed back with the end of the song playing over and over it self into oblivion.

Wow this is a definite new turn for the 24-year-old Bright Eyes. Conor and crew sailed this vessel into uncharted territories and succeeded in looting the electronica sound and combining it with Bright Eyes natural treasures. "Digital Ash in a Digital Urn" is as experimental as when Beck veered of his singer-songwriter path to create "Midnight Vultures" but covers vastly more ground. Conor's voice, which I usually find quite grating at times, is consistently calm and relaxed during the album. "Digital Ash in a Digital Urn" is quite a unique album. The young patch-less doe eye's lyrics indeed focus on the fear of death, but the festive music he made with his friends takes us on a wild journey from Electronica, to Pop, to Folk, to psychedelic, and even to island grooves. Aloha, Captain Conor, your new concept is not unlike an electronica version of The Beatles "Magical Mystery Tour."

Kevin Serra
www.Kevchino.com

This album in it's spectacular glory is by far the greatest Bright Eyes record i have ever heard. I can see why, for some people, this record may come across as abnormal and not meeting the par of his older work or even the acclaimed oposite, "I'm Wide Awake, It's Morning" Which was released at the same time. But I would beg people to give it some time and actualy listen to it before closing your mind to this clearly beutiful, expirimental record. It is truly best described as a seemingly endless, heavenly, beutiful marathon of electronic-emo bliss. These songs are crafted and structured so timingly and creative, and the melodies never touched or thought of by anyone before. Connor's witty, deep and slighty depressing lyrics meld togather perfectly with the brilliantly produced, processed sound that makes up the record. I wish more people shared the same opinion as me, but i can only state what i think and nothing else. I ask you to look at these songs artisticly and creativly because they are indeed genious. My favorate track would have to be "Hit The Switch" because the song craft and lyrics are beutiful and heartfelt. He really makes you feel his pain as he expresses his anxiety riddled expiriences and drinking problems all set to a killer wave of powerful drums, electric pianos, creative bass riffs and ever changing perfectly flawed guitar. Other outstanding songs on this record are "Ship in a Bottle" and "Devil in the Details". Both containing the witty brilliant lyrics we expect from this amazing songwriter. So, in the end, i advise people who cant stand the extra noise such as static, "beeps" and old keyboard synth sounds to listen to the true beuty behind this record and feel his beutiful natural pain he put into this amazingly splended masterpiece. Great job Conner. It deserves more than 5 stars.

Two new Bright Eyes albums were released on January 25th.

Digital Ash in a Digital Urn has a more electronic feel then the other Bright Eyes albums I have listened to. It still has the signature Conor Oberst vocals and lyrics, ruminating on many different subjects just not to your regular Bright Eyes backing.

The pouding sounds of Time Code flow into Gold Mine Gutted. Arc of Time's captivating beat and lyrics keep you in. I Believe In Symmetry tells a wonderful tale. All along the songs are very fun, they show a different side of Conor Oberst, one that I really like. This especially become apparent after listening to the sister album to Digital Ash in a Digital Urn, "I'm Wide Awake, It's Morning". Theme to a Pinata has one of my favorite lyrical phrases on the album, even if it is a little cheesy, "I wish I had a parachute `cause I'm falling bad for you."

A very solid release from Bright Eyes and sure to please any new or old Bright Eyes fan.

This is my first ever review - and I agree with Edward's assessment above but not Hillary's - I know that some have given this album a negative review - and I understand the mentality (I will explain later) - this album is not what Hillary says ("forgettable") - rather, like Edward says, I'm having trouble getting this album out of my CD player - I believe that people like Hillary, who so very well know the artists - have expectations - I don't - I didn't know this band until I heard Take It Easy on Indie FM 103.1 in L.A. (great station, by the way) - this is a good album - no, it's not Led Zeppelin 1 the first time you heard it - or U2's Boy in the mid-80's - or Maroon 5 or Modest Mouse or Muse or the Killers this year - or whoever you're comparing to - but it's nice on its own - nice to have on if you're not worried about impressing your friends about what you're playing in their presence (or is it? I guess it depends on what your friends are like) - give it a listen - or, to appreciate it, a listen or two or three - it's nice to listen to - "It's clear and blue as far as I can see" - respectfully submitted... G -