Outer South and My Opinion

A lot of reviews about Conor Oberst’s latest project “Outer South” are going to be flying around pissing off die-hard fans.  If you don’t know who Conor Oberst is, he is the delightfully depressing front man of Bright Eyes. I have heard the entire album a few times now, and think that, yeah, it’s a good album. But it isn’t a groundbreaking album. It isn’t an album that is going to shake you to your core and leave you with something. It’s an album that highlights what can happen when great musicians are inspired by each other, and work together to produce something they can say “this is what it was.” And “Outer South” does just that.

There is a semi-familiar alt country glow to this album that takes me back to the beginning days of Jeff Tweedy and Wilco, it’s a bit polished, but very live and warm. The production is tops, especially for Oberst who has had some issues in the past with poor quality sound. One major complaint from  most people about this album is that Oberst “let” his band mates record some lead vocals and tracks. I don’t know what I think is worse, that some asshole thinks this wasn’t a good idea or that they think Oberst “let” them do it. The band was a collection of artists Oberst knew personally and wanted to work with. “Worldwide” was written by Oberst for the bassist.  Some of the tracks written by the other band members stand as the best tracks off the album. “Eagle on a Pole” features Jason Boesel as the lead with Oberst as backup. The other singers offer a wider variety of voices and ranges, giving more choice to find the right fit for a song.

The instrumentation is on like always, with the screaming licks in  “Roosevelt Room” to the subtle chords in “White Shoes.” Oberst’s voice has improved too, it doesn’t sound like teenage angst. It is stronger and more competent in delivery. Oberst is becoming the songwriter that he should be at this point in his life. While the anger and passion is still there, it is focused on more adult and global causes. In general, Oberst has matured beyond singing hopeless songs about girls he likes. And that is far from a bad thing. His audience has (hopefully) matured along with him.

With  more variety in the songs, and the talent to deliver, this album just does not stand together as a whole. It isn’t coherent together. There are a lot of good songs here. But they don’t relate to each other well. It jumps. One minute I will be hearing a jaunty pop tune like “Air Mattress” the next I will hear a psychedelic rock song “Big Black Nothing.” Conceptually it falls short. It seems like the musicians just wanted to get their ideas out and on a recording. Which isn’t bad. In fact, it can be quite good. But this particular case falls short.

A lot of people scream for Conor Oberst to get back to his depressed teenage roots. I disagree. Oberst clearly is growing each album, shown just through listening from “Lifted” to “I’m Wide Awake it’s Morning.” He has matured, and as he matures he delivers new ways of hearing his brilliant songwriting. I would like to hear the next Bright Eyes album, after “Cassadaga” I was excited for where the group would grow out.  But I think if we keep expecting the norm from a song writer well known for doing what he wants and not what critics want, then we will be disappointed. If we have to expect anything, it would best be change.

~ by clydeisbryan on May 5, 2009.