Simply put, Conor Oberst and Britt Daniel (of Spoon) are two of the most gifted songwriters of the last decade. They need no wordy introductions, so we'll stick with "a better pairing for HOME might not exist."

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Nebraska's Bright Eyes are graduates from the Midwestern school of Britpop. With Fevers and Mirrors being their third full-length release, a strong adaptation of Radiohead, Blur, and Suede is conveniently wrapped up in a neat lo-fi package. But without completely ripping anyone off, Bright Eyes feature their own cadence of loose indie and shaky, emotional vocals. The results amount to a catchy collection of elaborate pop that's been perfectly captured on a nickel budget. [The Japa   [ read more ]

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When Bright Eyes brainchild Conor Oberst issued Lifted or The Story Is in the Soil, Keep Your Ear to the Ground in August 2002, he was 22 years old. Critics were already calling him the "indie Bob Dylan," but the new millennium had seen a lot of those introverted, intelligent types (Ryan Adams, Beck). Bright Eyes, though, delivered a solid, intricately produced album without the majors' monotony. Immediately, one can sense Oberst's literate approach. His vocal curdle is abrasive y   [ read more ]

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Call him pretentious, call him sensitive, call him what you will, but there's no denying the fact that Conor Oberst is a talented and intelligent songwriter. Actually, it's probably more correct to say that Bright Eyes are a group of talented and intelligent songwriters, because it's the pedal steel, the clamorous percussion, the orchestral arrangements, the thick background vocals that add to the songs in Cassadaga -- the band's fullest and most developed record to date -- almost as much as the le   [ read more ]

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Released toward the end of 2006, a year that was unusually quiet for the unusually prolific Conor Oberst, Noise Floor (Rarities 1998-2005) gathers up 16 odds and ends Bright Eyes has released in the past seven years. Those seven years saw Oberst rise from indie wunderkind to indie superstar, but Noise Floor doesn't trace that rise, nor does it offer a complete chronicle of rarities from that time. It's a collection of stray songs -- things released as singles or B-sides, things that have neve   [ read more ]

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