The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Now shipping while supplies last.Oberst, who’s nearly 30 years into a prolific musical career, spent the last decade in similarly productive fashion. Buy Digital Ash In A Digital Urn (Cassette) by Bright Eyes (Cassette $9.98). - Technics KeychainsAnd while 2020 is a year of milestones for the band, it’s also the year Bright Eyes returns, newly signed to indie label Dead Oceans. Fevers and Mirrors was released 20 years ago this May, while Digital Ash in a Digital Urn and I’m Wide Awake It’s Morning both turned 15 in January. Across three years he released a string of solo albums: Salutations (2017), Ruminations (2016), and Upside Down Mountain (2014), as well as guested on records by First Aid Kit, Phoebe Bridgers, and Alt-J. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: “Our history and our friendship, and my trust level with them, is so complete and deep. A symbol of simpler times, vaguely nostalgic. Down in the Weeds is a distillation of a prolific, enduring canon. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. In its own way, I’m Wide Awake It’s Morning carved out its place in the canon of great anti-war albums by being both present and prophetic, its urgency enduring 15 years later. On the title track and throughout the record, Oberst sings about body counts in the newspaper, televised wars, the bottomless pit of American greed, struggling to understand the world alongside one’s own turmoil.
We have to hold on.” Thus we enter the fitting, cacophonic introduction to Bright Eyes’ tenth studio album and first release since 2011. Ships Free in the U.S. Mogis and bandmate Walcott also teamed up to write the original scores for The Fault in Our Stars, Stuck in Love, and Lovely Still, and Walcott worked as a solo composer scoring number of independent feature-length films.
Down in the Weeds is Bright Eyes’ most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott’s Los Angeles home. And I wanted it to feel as much like a three-headed monster as possible.” As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. And even though it wasn’t actually possible to go back to the way things were, even though there wasn’t an easy happy ending, there was a new reality left to work with.
The latter, a singer-songwriter tour-de-force released amidst the Bush presidency and Iraq war, wades through incisive anti-war rhetoric and micro, intimate calamities. Mogis immediately said yes. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes’ output. But on a personal level, it speaks to rooting around in the dirt of one’s memories, trying to find the preciousness that’s overgrown and unrecognizable. Ships Free in the U.S.
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