- by Steve Harris
- Monday, July 09, 2007
- filed in: Indie
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Is it just me, or is Conor Oberst getting better at singing? Maybe he’s not about to win American Idol but he’s certainly come a long way from sounding like a moody teenager trying to imitate Dylan (don’t get me wrong, I’ve always loved his vocals, but not on the basis of technical ability). On ‘Hot Knives’ at least, and indeed much of recent album Cassadaga, the cracks have been sealed in and now there stands a strong, defiant voice, as powerful and beautiful as on earlier records just in a different way. But that’s only the start of it. ‘Hot Knives’ is a masterfully rich song that reveals new treasures with every listen: there’s the distorted guitar lined with Americana, the swirling backing vocals, and the dramatic strings that surge in all the right places but still know when to hold back. This is Bright Eyes working at the height of their powers and, popular vote be damned, a genuine sound of modern America.
Released 09/07/07 on Saddle Creek Records
Is it just me, or is Conor Oberst getting better at singing? Maybe he’s not about to win American Idol but he’s certainly come a long way from sounding like a moody teenager trying to imitate Dylan (don’t get me wrong, I’ve always loved his vocals, but not on the basis of technical ability). On ‘Hot Knives’ at least, and indeed much of recent album Cassadaga, the cracks have been sealed in and now there stands a strong, defiant voice, as powerful and beautiful as on earlier records just in a different way. But that’s only the start of it. ‘Hot Knives’ is a masterfully rich song that reveals new treasures with every listen: there’s the distorted guitar lined with Americana, the swirling backing vocals, and the dramatic strings that surge in all the right places but still know when to hold back. This is Bright Eyes working at the height of their powers and, popular vote be damned, a genuine sound of modern America.
Released 09/07/07 on Saddle Creek Records
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