Bright Eyes Review, Take 2

January 25 was a big day for music: in a fantastic display of versatility and young talent, Conor Oberst and his outfit, Bright Eyes, unveiled "Digital Ash in a Digital Urn," an album released concurrently with "I'm Wide Awake, It's Morning" but very much a reflection of its creator's "other" side.

This side departs from the folk simplicity of "I'm Wide Awake, It's Morning," (see 'Street,' Feb. 10), and is instead directed towards the production-based alt-rock modes which defines this unique collection. While it does not sport the same provocative depth as "Wide Awake," it does succeed in deepening our respect for Oberst as a creative force.

The album itself seems torn between two thematic tendencies. Vocals notwithstanding, the first half of "Digital Ash" is dark, at times brooding, and bordering on Industrial with its array of heavy electronic drums and futuristic soundscapes. Remnants of Nine Inch Nails mastermind Trent Reznor abound, and Oberst's frequent recourse to decadent background samples—clocks, heartbeats, baby cries—echoes Pink Floyd.

The album's opener, "Time Code," is a nearly five-minute escapade through these devices. Heavy breathing sets a hectic pace for the first measures, which luckily abates somewhat in the transition to "Gold Mine Gutted," which, dare I say, might betray some latent fascinations with the '80s pop band Tears for Fears. The vocals on this track, like so many on the album, could just as well crop up on "Wide Awake."

The third track, "Arc of Time," provides an excellent upswing in tempo that reengages the listener via a prog-keyboard beat and some cleverly truncated acoustic guitar segments. The whole piece has a peppy Spanish feel that makes it one of the most compelling tracks on "Digital Ash."

"Down in a Rabbit Hole" signals a changeover in the album's overall structure and sets the standard for the alt-rock tunes to come. For better or worse, Oberst seems more mature in this composition, both vocally and musically. If nothing else, it certainly attests to his willingness to experiment. Frankly though, the listener may feel like Lewis Carroll's Alice: somewhat lost. Still, we hear Beck's seasoned influence in the track's complex sonic layering of echo effects, string arrangements and feedback manipulation.

The second half of "Digital Ash" takes shape with similar maneuverings and a definitive Radiohead-type blend of unpatterned percussion and exploratory, though precise, basslines. In fact, the low end of "I Believe in Symmetry" could be a direct lift from "Airbag" (OK Computer). "Theme to Piñata" is a fun and peppy track that takes us on a lyrical parachute ride. Supported by the background laughter of children, the song exhibits a lightheartedness that is rare on "Digital Ash." Oberst even says in the song's conclusion, "it's hard for me imagining the flaws in this design. I know debris, it covers everything, but still I am in love with this life."

The clock ticks down in "Easy/Lucky/Free" to an appropriate conclusion to Bright Eyes's most recent musical adventure. "Digital Ash in a Digital Urn" is in several ways the bizarre version of "I'm Wide Awake, It's Morning," and the same craftsmanship and attention to detail that made the latter so great are still evident in the former. Oberst certainly has a lot to offer, so keep those eyes up, all ye seemingly abandoned new music fans. The future looks bright.