Il vostro carrello è vuoto

Categorie :

Artisti simili

Gli album

A partire da:
HI-RES14,99 €
CD9,99 €

Musica alternativa e indie - Uscito il 21 agosto 2020 | Dead Oceans

Hi-Res
A partire da:
HI-RES14,99 €
CD9,99 €

Musica alternativa e indie - Uscito il 25 gennaio 2005 | Dead Oceans

Hi-Res
A partire da:
CD13,99 €

Musica alternativa e indie - Uscito il 10 aprile 2007 | Polydor Records

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 lead singer's own wobbly voice and sharp lyrics. Because the album is, like all of Bright Eyes' albums, very much about the words. Besides the usual swatch of Middle America character sketches and the occasional political allusions, Oberst writes dialogue that travels throughout the record, questioning religion and truth and love and purpose the entire time. He knows he has to go somewhere, and he's hoping that if he just keeps moving, where exactly that is will make itself clear. "Cassadaga might be just a premonition of a place you're going to visit," a psychic says to him in the opener, "Clairaudients (Kill or Be Killed)," which acts an introduction to both the album's musical (slightly spacy, organic acoustic melodies) and lyrical (direction, control) themes. Oberst sees himself in a place where "everything must belong somewhere" and "death may come invisible," a place where mystics and clairvoyants can tell us as much about our own selves as we can, a place where destiny exists, a place where God is both an omnipotent "Brakeman" and a myth construed in books. Perhaps because of this, Oberst appears more unsure than he ever has. But also because of this, this lack of control, it's not an insecurity about himself that he feels, but rather a kind of shadowy acceptance of the uncertainty of life. "The 'I don't know,' the 'maybe so'/Is the only real reply," which he sings on the stormy Western dirge "Middleman," his voice accepting and empty at the same time, is the most truthful assurance he can offer. Because, despite the gravity of the ideas presented on Cassadaga, it's not a depressing or even overly serious album. Rather, it's finding what you can, be it a geographic location or a mind state, when and how you can, amid the incomprehensible world around you; it's Americana, full of folky acoustic guitars and dobro and dissent and yet, still, a kind of hopeful optimism that can't hide itself completely under the strings, clarinets, and cynical irony; it's a mature interpretation of life, not just whining complaints. "I'm leaving this place but there's nothing I'm planning to take/Just you," Oberst confesses on "No One Would Riot for Less." Where he's going -- Manhattan, California, the Hague, New England, or even Cassadaga itself -- he doesn't know, but he's going to keep looking until he finds it, and he's got his guitar, his simple chords, his verses and choruses, to help him (and perhaps us) along. © Marisa Brown /TiVo
A partire da:
HI-RES1,95 €
CD1,29 €

Musica alternativa e indie - Uscito il 28 ottobre 2020 | Dead Oceans

Hi-Res
A partire da:
HI-RES14,99 €
CD9,99 €

Musica alternativa e indie - Uscito il 25 gennaio 2005 | Dead Oceans

Hi-Res
A partire da:
CD13,99 €

Musica alternativa e indie - Uscito il 01 gennaio 2007 | Polydor Records

A partire da:
CD13,99 €

Musica alternativa e indie - Uscito il 15 febbraio 2011 | Polydor Records

Returning to Bright Eyes after a three-year solo-ish sojourn, Conor Oberst switches gears for The People’s Key, downshifting from the rustic canyon rock of the Mystic Valley Band so he can ride a moody modern rock vibe not too dissimilar from Digital Ash in a Digital Urn. Passing resemblances aside, The People’s Key is quite different in tone and tenor than Digital Ash, the somewhat tempered corrective to the self-styled major statement I’m Wide Awake It’s Morning. Like the Mystic Valley albums before them, The People’s Key is deliberately not designed as a major statement; perhaps it possesses recurrent themes -- spirituality drifts through the album, often taking shape in vague Rastafarian sentiments; the album is bookended by murmured recitations that play like library finds, not spoken truths -- but the album lacks heft. Generally, the songs are concise -- the opener and closer flirt with seven minutes but that’s all due to the elongated narrations -- driven by melody and bearing nicely textured arrangements that leave plenty of space for analog synths lifted from the early days of MTV. Disregarding the lyrics -- something that is not easy or necessarily optimal with Oberst, who is continuing to whittle away his overwritten excesses -- The People’s Key is Bright Eyes’ poppiest record by some measure, trading anthems with the weight of America on their shoulders for sculptured miniatures. Perhaps it lacks ballast and gestalt, but Bright Eyes arguably operates better on a smaller scale, trading pretension for fractured pop that cuts into the cranium with skewed precision. © Stephen Thomas Erlewine /TiVo
A partire da:
HI-RES14,99 €
CD9,99 €

Musica alternativa e indie - Uscito il 13 agosto 2002 | Dead Oceans

Hi-Res
A partire da:
HI-RES1,95 €
CD1,29 €

Musica alternativa e indie - Uscito il 25 febbraio 2021 | Dead Oceans

Hi-Res
A partire da:
CD13,99 €

Musica alternativa e indie - Uscito il 01 gennaio 2007 | Polydor Records

A partire da:
CD8,99 €

Rock - Uscito il 23 marzo 2010 | Saddle Creek

A partire da:
CD1,29 €

Musica alternativa e indie - Uscito il 02 settembre 2011 | Centaurus A

A partire da:
CD2,99 €

Musica alternativa e indie - Uscito il 01 gennaio 2007 | Polydor Records