Live: Bright Eyes at the Royal Albert Hall

I went to see Bright Eyes at the Royal Albert Hall last night, which was extra special because my brother came, and it was his first time seeing Bright Eyes, and he’s a big a fan as me (well, obviously not quite as big, as I've seen Bright Eyes SEVERAL times before). The Royal Albert Hall is a dream venue, and everything is easily accessible, toilets, drinks, the place you want to stand. We got a really good spot by the side of the stage, even though we were late and only just got to see Super Furry Animals dude who’s name I’ve forgotten how to spell.
The set was a bit more extravagant than the Scala, with two giant tent like structures on the stage, and a Placebo-style graphics screen. The lighting was also really excellent, and was put to good use. The acoustics were AMAZING. The set was pretty much the same as the Scala, with exceptions being he did Another Travellin’ Song (why?) Ladder Song (incredible) and Landlocked Blues (ho hum), but he didn’t do a couple of oldies he did last time (I won’t say what or my brother might get jealous). He was jigging about as before (in Rasta trainers, I noticed) and did a funny introduction of the band members. At the end he was touching the crowd and hugging the crowd, and I got literally two inches from touching his hand, but then he was off. Boo. Oh well, I’ve still got my bit of Morrissey shirt to cling to. It’s amazing being that close up to him, he is really beautiful, as well as being a genius, which is a winning combination in my book. I love him so much. Even my brother said he would pet him.
My favourite song was Old Soul Song, I nearly cried, I was so happy (it was a good day yesterday, I just got a new job), but there were lots of magical moments, including someone telling my brother to ‘shush’ for talking during No One Would Riot For Less and then after that we were shouting ‘shush’ at anyone cheering. It’s a gig, ffs (although my brother does talk a lot, admittedly).
All in all a magical night! I'm jealous of anyone seeing them at Glasto! Until we meet again, Conor... I'll get you next time.

Bright Eyes review - Live at the Scala, Kings Cross, London

Bright Eyes are my favourite band and I’ve seen them many times. I saw him in his not-looking-up phase at Shepherd’s Bush many years ago. I sat at his feet in the Guardian tent at Glastonbury in one of the most special gigs of my life (he didn’t look up much then either, but I was close enough to touch his leg). I’ve seen his confidence grow at festivals. I saw him in white suit/ long greasy hair phase back at Shepherd’s Bush where he looked like he’d actually learnt to put on a show. But nothing seemed to fit him as right as the performance he put on last night at the Scala. It was like he’d finally worked out who he was (and it’s not Bob Dylan, thank God).
I was so lucky to get these tickets, I really appreciate that. I’ve been to the Scala many times for Popstarz but never seen a gig there, so wasn’t sure how it would work. Me and my best friend got a really decent spot on a raised bit with a little barrier in front of us, so we didn’t have to get crushed and we had a perfect view. I think we chose wisely, as the place ended up absolutely rammed. I have no doubt in my mind that place is a major health and safety risk- if there was a fire, you’d be in big trouble. But hey- I’d have died happy (after the gig, obv).
The support act was Tim Kasher, another Saddle Creeker, who did quite a dreary set, with some unintentionally amusing lyrics.
Bright Eyes started with the intro to the album, which reminded us of Morrissey gigs where he makes you sit through some painful intro, but at least the Bright Eyes one is only 2 minutes 30 seconds (I know, cos I’ve been skipping it on the album!) A word on the album The People's Key; wow, it’s catchy. I’ve been listening to it non-stop, and it bounces around my head constantly. It’s really, really excellent quality, there’s not a bad track on it, and there’s a lot of variety.
He came out in the kind of shirt you’d wear to the office and looked quite pallid, but I think it was just the lighting as his manner and demeanour improved later. He opened with Firewall, which made me think- ah, is he going to do the whole album in order? For once I wouldn’t have minded as I was really looking forward to hearing songs off it. He followed this with another newie (oh God, memory failure). Weirdly after that he did about 6 big hits in a row. We’d been joking that we wasn’t going to do any crowd pleasers, so was quite shocked to hear Gold Mine Gutted, Old Soul Song, Four Winds, Lover I Don’t Have to Love and We Are Nowhere and It’s Now all in a row. I don’t really like Four Winds but what a run. Lover I Don’t Have to Love was amazing, obviously. He followed this with Jejeune Stars which sounded lovely.
My memory is a bit addled so these aren’t necessarily in the exact right order but he also did Shell games, Approximated Sunlight (very cool), Haile Selassie, Cartoon Blues (that was a random one - precluded by him rambling about the crowd being half CGI - but I love it), Bowl of Oranges, Arc of Time, (about the worst song he played all night, and it’s still a good song), No one would Riot for Less (makes me think of my ex boyfriend but stunning), Take it Easy (Love Nothing), An Attempt to Tip the Scales (yes that one with the annoying interview in the middle of it on Fevers & Mirrors) and they did Road to Joy just before they went off.
They even did Something Vague, which I don’t believe I’ve ever heard them do before- I mean, it’s mindblowing. I can hardly believe those song titles are being written here by me, it was such a litany of amazing hits. Even if he’d just come on and looked at the floor and sung them we would have been crying with happiness, but he didn’t, and the band was amazing, the sound was just so good.
He chatted a little- not much but he said happy valentines day and why were we here when we could be having a boring dinner with someone we didn’t like, something about motherfuckers, and a few other bits in between. The most gross part was he kept spitting on the stage and at one stage even spat towards the crowd! Honestly- it’s valentines day, don’t treat your guests like that, Conor. I know you weren't dragged up. He also threw a bottle up in the air which fell back down and hit him in the head, which I thought was quite amusing, considering.
He redeemed himself after the encore coming out with flowers and handing them out to the crowd, very cute. He’d also done his hair like a little girl.
After the encore he did Beginner’s Mind, the Calendar Hung itself (absolutely outstanding live and the first Bright Eyes song I ever heard), Nothing Gets Crossed Out, Poison Oak (beautiful), and One for You, One For Me. I mean, look at that for an encore, FFS. Talk about crowd pleasers. He seemed a bit off his head at the end, he jumped in the crowd and his eyes were rolling back in his head, so he'd probably gone for a 'pick me up' and I don't mean the spit bucket. He was doing some very jerky awkward dancing, which I liked as I hate going to see a band and seeing someone rooted to the spot (take note Battle for the Sun-era Brian Molko). Conor would never have moved like that even five years ago when he just hid behind a guitar (or keyboard).
The night was just fantastic, we had the perfect spot considering how heaving it was in there, and the setlist was a dream. I’ve probably missed some gem out, too. If I was churlish enough to complain about the setlist I’d probably say I’ve heard a lot of those big hits before, but to complain about him playing hits is pretty stupid (although if you’re reading this, Conor, next time can you play I believe in Symmetry, February 15th and Hit the Switch- I’d request A Line Allows Progress, a Circle Does Not, No Lies, Just Love and A Poetic Retelling of an Unfortunate Seduction but I don’t think that’s gonna happen). Oh and I wanted to hear Triple Spiral from the new album, just for the mother crone line, really.
The new album is soooo good, I can’t even choose between songs like Shell Games and Selassie, they are both so strong in their own ways, and sound so good live. Conor was shouty, screamy, sneery, humble, sweet, funny- just everything he should be. He is my perfect popstar, my idol, he means everything to me. I didn’t want to build my hopes up too much beforehand but he totally delivered. It was wonderful. And my best mate loved it an’ all. I don't know what I would have done if I'd never found Bright Eyes. I don't think it's possible.
Bring on the Royal Albert Hall... I can't wait.

Album: Bright Eyes - The People's Key

Well it just took me about an hour to download this; (thanks Saddle Creek team who helped me when Google ate my download!) which makes me pine for CDs even more. I am getting my CD; but it's the same day as the Scala gig, so I want to know some songs before then! I have the lyric sheet here, and it's like the booklet, so it's nearly as good, except I can remember the exact bed I was lying on the first time I heard Digital Ash and Wide Awake... that day felt too good to be true. But I was a young 'un then. Things can't stay that good.
Anyway; it's not Conor's fault I'm a technophobe, so let's get stuck in.
Oh by the way, the cover. It is a bit cheapo, but when you've suffered through the last two font types on Moz's front covers anything seems acceptable. I wouldn't even use some of those on a poster for a mental home jumble sale. Anyway.
Ah... annoying intro! Check! It warms the heart. I've missed you, Bright Eyes. I've missed you, Conor. I've even missed Mike Mogis (a bit). And I always liked Nate cos his favourite song to play live is I Believe In Symmetry (which is my favourite song of all time). Also, I saw the other side and it wasn't pretty.
This intro appears to be some David Icke bullshit about shapeshifting. Only ten tracks on this album! Bit tight. And I've heard two of em. Best hurry along, now.
Early disclaimer: first impressions mean nothing, especially with Bright Eyes songs. These opinions could be null and void very shortly. Oh Coyote Song isn't on it. I like that song, but it's good to have more newies. The Coyote Song video was really lovely, though.
The first song is called Firewall. I'm not sure about it yet. I like the drum machine, but it's a bit slow and doesn't go anywhere. Still, no country guitars? Check. The lyrics are Four Winds-ey.
Second is Shell Games, which was the first freebie off the album. I like it, it's a bit poppy/ 80s and reminds me of The Killers. 'I'm still angry with no reason to be...' is a fab line. It's like an album track off Digital Ash (which, incidentally, my favourite Bright Eyes album of all time).
Jejune Stars reminded me of Cursive at first, and then Rilo Kiley's Portion for Foxes in the middle. I like it, the cheesy keyboard the mentions of 'karma' and the 'staircase of misinformation' (sounds like a task on Big Brother). It almost sounds like it's going to rock out, but never quite does. Still, echoes of better songs like ...Symmetry.
Approximate Sunlight reminds me of You Were Good in Your Time by Morrissey. It's even got a creepy sample in it. It's also got a feeling of Rabbit Hole off Digital Ash. I like it when he sings in that lazy kind of style, but I also want him to go full throttle and out of tune. Will he? Will he? Will he? He probably won't.
I've already heard Haile Selassie but only last week. I like it, I like the fact his voice sounds a bit grating on it, and it's quite catchy. What is he talking about? I haven't got a clue. I like the 'I've seen stranger things happen' line.
A Machine Spiritual: The echo effect on his voice is good. The tune sounds a bit Mexican. The lyrics are dreamy nonsense. This album feels like a mishmash of Cassadaga and Digital Ash.
Tripal Spiral is like a rockier Light Pollution. The subject matter reminds me of an Emmy the Great song (The City). I like all the noise going on. What is a Tripal Spiral? Fuck knows. I think Conor's been smoking something.
Beginner's Mind also sounds like someone's going crazy on a Major Morgan. I think this one could be a big grower, it's got a bit of an anthemic feel to it. I enjoyed the 'starting over' bit.
Ladder Song just got to me a bit. It's a little bit of Lime Tree mixed with Breezy, very stripped down. I like it when he goes back to basics as well.
One for you, One for me has a nice drum machine on it (Easy, Lucky Free!) Sorry, it's not my fault everything reminds me of everything else. The good thing is, they are reminding me of songs I love! The way he says 'me'- he sounds nearly English.
Ooh, the 'You and me, that's an awful lie, It's I and I' line is a killer. Straight out of the Morrissey handbook, good work, Oberst.
More babbling nonsense over the end, but I don't mind because it's Bright Eyes and they're back! It feels like home. It feels wonderful.
Ooh, I snaffled up two bonus tracks from somewhere, so let's have a listen. Singularity is OK, I like the vocal effects but it's a bit ploddy. In fact it's the first one I've even thought about skipping. So I guess it's OK it's not on the album! And finally there's In The Real World, which has some pretty dull lyrics. It reminds me of Theme to Pinata- which reminds me of Big Brother USA, but that's another story.
Yeah so the bonus tracks weren't all that, but hey ho. This album has almost expelled the memory of the dire Mystic Valley band. ALMOST. I love you, Conor. I'll always stay true to you. I think I've proved that- and believe me, you made it VERY hard at times, both hairstyle-wise and musically.
Really glad you're back. See you on Valentines Day.

Album: Monsters of Folk

It's with a heavy heart I sit down to listen to this. I don't care if they're a 'supergroup', I only want to hear Conor sing. Plus, supergroups are ALWAYS rubbish. And I hate M. Ward. And Mike Mogis. Still, I'm clinging on for a crumb.
The first song sounds like a boring Death Cab song. It's sort of electronicy but not quite. I didn't like the mixture of voices. Conor pops up in the second verse.
The second song Say Please is just some country twaddle. As is the third song.
Temazcal starts promisingly (ie. Conor's singing alone). Then it goes a bit like a hymn. Then plods along a bit.
I had to skip The Right Place after about 10 seconds; too country. Baby Boomer; also rubbish. It reminds me of the ones where he lets the others sing on his 'solo' album.
Don't know how Man Named Truth snuck on here; that song has been doing the live rounds for a while now. Ooh just Conor singing; hurrah! And his voice sounds a bit shaky and trembly. Good.
Enjoy this one, cos it's as good as it gets. But it still only sounds as good as his solo stuff, it's not a patch on Bright Eyes.
I can't STAND that country guitar noise on Goodway, it makes me want to throw up.
Ooh hold on, Ahead of the Curve is quite nice. It's minor-country but Conors voice sounds good on it, and he does all of the singing.
Slow Down Joe sounds like a Christmas song. Losing Yo Head is quite catchy but not Conor-heavy.
Magic Marker is dreary. Map of the World is Conor-led vocally, and reminds me of a cut-price Lenders in the Temple.
Sandman, the Brakeman and Me- noooo. The last song is rubbish too. Glad I didn't buy this!
It's not just Conor's tunes that have gone down the toilet; it's his lyrics too. And I'm sad about the death of Bright Eyes, and I'm sad about Bright Eyes on the blinking Halifax advert. It's like watching an ex-boyfriend deny your existence.
In the News of the World yesterday Ian Hyland said Holly Willoughby should be off to LA, not sitting on the sofa ten years too soon with Pippy Schofield. Well, that's how I feel about Conor. He has the youth on his side to be Prince or David Bowie. It seems he just wants to be Kenny fucking Rogers.

Album Review: Outer South- Conor Oberst & The Mystic Valley Band

So here I am with Conor's new CD in my hand, yes, I still buy his stuff, because, y'know, it's him. The sleeve is nice, shiny and colourful with lots of posey pictures of them all looking a bit awkward. There's 16 songs on this album, so that's value for money, at least (but how many is he doing the lead vocal on?). The Daily Mail said Conor was in danger of producing 'quantity over quality'. But he's always been prolific. I listened to his last (almost) solo offering in this flat too, so it wasn't so long ago. But I'd rather prolific and a bit shoddy than retired.
Slowly (Oh so Slowly) reminds me of Gentleman's Pact. To All The Lights in The Windows sounds like a soft rock song, like Conor is trying to be Bruce Springsteen, but there are flashes of good stuff. His voice sounds kind of raw and live on it, a bit under produced, which is nice.
The third song has a crossed out title; cute. From the lyrics, I suspect it's really called 'big black nothing'. Uh-oh, it's one of the others singing. I was afraid of this. Actually, it aint too bad.
Air Mattress also has another one singing, but his voice is kind of nasally (and not in a good way) and the song is a bit cliche. It makes me pine for Conor's vocals. Oh god, that guitar solo is unnecessary.
Cabbage Town is pretty good, probably the most Bright-Eyesey yet. I quite fancy going to Cabbage Town. Again, Conor's voice sounds good, a little bit ripped up and echoey. Definitely less studio-fied than on the last solo album.
Ten Women is quite nice, it has a gentle tone to it, and is probably the least country. Difference is Time is good too, even though it's another lead vocal from someone else, his voice is quite nice (although he sounds a little drunk). It's got a kind of Neva Dinova feel too it.
I thought Nikorette was a bit tedious, wasn't that meant to be the single? They always do a duff single! It's just TOO country, that guitar makes me want to puke.
White Shoes (with just Conor singing with a guitar) reminds me of Lime Tree (with a bit of Lenders in the Temple). It's kind of atmospheric but tuneless, like it could be beautiful but doesn't quite find it's feet. It's lyrically gibberish, which I'm sure means something to Conor, but not very much to the listener. The echo on his voice is cool. This will either really grown on me, or just end up leaving me cold.
Bloodline sees one of the others singing. It's OK but goes nowhere; it's country nothingness. Spoiled is quite good, it has a nice pace to it and the lyrics are sweet. It's a bit poppy. Worldwide feels like more interchangeable country; it feels like it should be Conor singing it.
Roosevelt room goes glam rock, which is a bit weird at this point, but at least Conor is shouting a bit, and he sounds angry. I've heard this before live. I absolutely HATE that 70s guitar sound, but at the same time it's good to hear something a bit different, which doesn't say much for the album. This song is too derivative, but the whole album is. It feels like a waste of Conor's genius.
Eagle on a Pole is not as good as Eagle on a Pole which is on the 1st album. Getting sleepy now.
I Got The Reason #2... wasn't this on the last album? When you're doing two songs with the same name and songs with the same name, but version 1 & 2, maybe you are too prolific. I do really like this song, but I know it quite well, anyway. The version I have is quite understated and quiet, but this version is good too, at least he's loud on it. It's probably the best song on the album.
Snake Hill is an awful ending to the album; it's the mega nasally one again. B-side!
Anyway, I've heard this is a grower, so all comments are pretty much null and void until a couple of weeks time. But it felt like a slog. Conor is such a talent; why does he insist on selling himself so short? And with himself, us.

Conor Documentary: One of a Kind- The Story of the Mystic Valley Band

I'll never forget my crushing sense of disappointment when I bought the Evening with Saddle Creek DVD; how can a DVD with The Faint, Cursive, Rilo Kiley and Bright Eyes on be so bloody boring? But it was. Too much dull waffle. It's weird when one of your biggest idols is actually not that charismatic; yet his music says everything.
I'm not the biggest champion of Conor and his Mystic Valley Band (come on, have you ever met anyone who is?) but I would die for the merest sprinkle of Bright Eyes stardust.
So I sat down to watch this documentary with trepidation. But hey, this documentary is free, so it would be churlish to complain anyway. Still, I'm sure it won't stop me.
I don't hate the Conor solo album, I think Eagle on a Pole, Lenders in the Temple and Milk Thistle are beautiful (oh, and Breezy). But I really can't abide that country guitar sound. I swear the more country he gets, the less shouting he does. And the fact he lets all of them sing does my head in. They are not worthy! Aw, he doesn't want them to sit on the sidelines. But not everyone can be a lead singer, can they? They don't let the duff ones at the back of Coldplay do their own songs, do they (they probably do actually, like when Take That lets Howard Donald have a go).
Five minutes in and the documentary just appeared to be songs, and clips of photos, which suited me to be honest, I don't really care about the studio, or the hi-hat, or how they all get along so well.
Oh. And so it begins. The banal chatter. One of them is sorely lacking a neck and appears to have a serious dental problem. I only like the one who plays the violin and who's in Bright Eyes and likes playing 'I Believe in Symmetry.' His name will come to me eventually. No, NOT Mike Mogis. Nick!
There's another one who's like a faux Conor. But what's the point when you have the real one there?
OMG. Ill-advised Conor beard. When I watched Louis the other night, ALL the sex offenders had beards. Beards are NEVER good. Come on Conor, you're already making your music tedious, don't go ugly too. Give us a rock to cling to. I know it's hard work being so pretty and everything, and being a heart-throb as well as a genius, but it could be worse; at least you don't have to get up early and suffer through failed performance reviews like in my miserable life. Those sideburns later on were just about acceptable, I suppose.
What is that bloody track with the didgeridoo on? It's interminable. Conor's ad libs between songs aren't much cop, either. Oh my god, and when he does that 'check, check, check' thing. It's as bad as Morrissey's intro tapes. Just play the fucking tunes! In fact, play ONLY the tunes I want to hear! Right?
It was nice seeing Conor shed a tear when Obama won the election.
So the whole band wrote songs called 'Eagle on a Pole'? That must be disappointing when you go see them and hear one of the crappy ones.
This documentary is worth a look but only if you're a diehard fan. Oh and download it if you can. The streaming made my eyes hurt and I kept having to pause it so it could catch up which was a bit of a rigmarole. But the version I downloaded first didn't work. Painful!
Conor said his approach to making music has changed from 5 or 10 years ago and hopefully it will change again in the future. I hope so too, I hope he becomes adventurous again, and not so plodding. He's my age!
I'm looking forward to the album, of course (except the cameos), but I'm still left wishing Conor would just put on some shoulderpads, team up with Patrick Wolf and do some thrash-techno. Is that too much to ask, as Morrissey once warbled in a very mediocre song. And how apt.
Oh and at the end, it turned out it was just one big advert, like in Starship Troopers.

Album review: Emmy the Great- First Love

Emmy the Great is probably an acquired taste. I don't know that many men who are keen. When you put the album in itunes, it says 'folk'. But she is folk like Patrick Wolf is folk; not really. Personally, I'd call it pop.
Emmy sings really simple but lovely lyrics in a way that Lily Allen could only dream of. And it's because Emmy is clearly not a twat. She's a singer and poet. And she's just very, very honest, even when it's a bit twee, or a bit clunky. And I like that. Plus I very much like her voice.
So finally, the Emmy album. It feels like I've been waiting two years, but it's probably only one. Of course there is always a danger much-loved songs will be ruined 'in the mix' but you can't go too wrong with hers.
Weird to see things like Absentee on the album but no Edward is Deadward, which far superior in my opinion (and both about death). And I guess we should respect her for not bunging on her single Secret Circus, like Mozzy did so callously with All You Need is Me AND That's How People Grow Up. No Canopies and Grapes either. I guess these songs are just too old now, or she's just sick of them.
24 is a bit dreary as well, I prefer her more poppy ones. Sorry! As Simon Cowell would say, whilst resting his thumb on his cheek.
We Almost Had a Baby has a nice waltzy feeling to it, but I prefer Two Steps Forward, it seems stronger lyrically all the way through i.e. 'when love was just a feeling that ran out between my legs/ onto the back of my dress' which is horribly graphic but great. I'd like to have heard a studio version of that.
Oh dear, I don't like Easter Parade much either. Yet it made me feel like crying. Mind you, I cry at anything. Especially on Tuesdays.
Ooh, one I haven't heard before: Dylan. It sounds country-fied, it's Cassadaga-ed. Hmm. It's also got Cemetry Gates style lyrics.
On The Museum Island is moody and atmospheric but didn't make much of an impression on first listen.
Ooh, I really like War, which I also had never heard before. I'm a sucker for strings. Another one about death!
The title track First Love is about the song Hallelujah- everyone is obsessed with that! She even sings a bit of it in it. It reminds me of when Conor sings, 'you are my sunshine, my only sunshine' in the brilliant The Calendar Hung Itself. This song is good too, it's a bit epic and sprawling and confused and I like that.
I love, love, love MIA which I've had a scratchy version of forever. The lyrics are like a sick joke, they remind me of Stan for girls. Not sure about the recorder they've stuck on it, but it's just wonderful, touching and horrible and glib all at the same time.
Next is the Easter Parade Part 2. It kind of good having two parts to songs, even if I don't like them that much.
Bad Things Coming, We Are Safe is pure Bright Eyes Wide Awake it's Morning era. It has some of the Two Steps Forward tune to it, which gives it a Sugar Coma/ Boys on the Radio twist for you Hole fans (come on, I know at least five of them personally).
Everything Reminds Me of You reminds me of country Bright Eyes too, I think it's that reverberating guitar sound. But it doesn't really go anywhere.
City Song finishes the album. I like it but I don't love it, I have to say.
There's thirteen songs on this album and I think that's pretty good value. I like having the CD in my hand lately. I have bought Day & Age, Years of Refusal and this, and I like owning them, I like the tangibleness.
I watched Emmy the Great in the pouring rain at Glastonbury, and that MUST have been two years ago, because I didn't go last year. And it was all little girls watching. And me. Because I'm a little girl, too, inside my head. And I like Emmy. There is something special about her. Hopefully I'll go see her live soon.
At the weekend, my best friend said 'do we have to grow up?'. And the answer is, no.

Gig: Conor Oberst and The Mystic Valley Band (Electric Ballroom, Camden)

So here I am, walking past a queue of people seemingly no taller than five foot (and I aint MUCH taller), to see screamy-turned-country-cokehead-genius-and-isn’t-he-cute!- Conor Oberst. The crowd does not match the music on offer tonight. But these are eyelinered teenagers who fell in love with The Calendar Hung Itself (that was the first Bright Eyes song I ever heard) and Lover I Don’t have to Love (if you’re younger).
Why do we stick by Conor as he goes from brain-bleedingly vital (Desaparecidos) and downright genius (Letting Off The Happiness/ Fevers & Mirrors/ Lifted/ Digital Ash) to generic country bumpkin? Because look how many albums WERE downright genius. How can you fall out of love with someone who gave you so much? I am a loyal little fucker and he has done more for me than 99.9% of people on this planet just by existing.
And so I took my place at the front of the barrier amongst the crowd who were 80% female and 80% under 20. I might be older, but I’m the same age as Conor. He speaks for me as well.
The support band were a bit peculiar, a Welsh David Icke lookalike and a guitar player who would have made a rabbit in the headlights look like it was sitting on a sun-lounger sipping a cocktail. But my general feeling was, it could have been a lot worse.
I had reasonably low expectations for the gig; I was fully expecting it to be a full on country-fest, which it was to an extent, but it seemed to work well in it’s own bubble. You just have to push the back catalogue out of your head and appreciate this for what it is. I saw quite a chunk of Conor at Reading on BBC3 and I thought it was OK, but it was much better when you were there (plus he didn’t look quite so much like he was in fancy dress).
Conor and The Mystic Valley Band came on in a collection of puke-coloured shirts. Conor later said they were ‘ill’; I think ‘drunk’ was more the word he was after. The guitar player looked like he was struggling to stand and Conor later said it was because he’d dropped acid right before the show; if that was the case, he did a sterling job.
I’m quite fond of the Conor Solo album anyway, but it seemed more alive on a stage, less mellow and like it was meant to be heard this way. The stripped down numbers like Lenders in the Temple and Milk Thistle were lush and I thought Conor’s voice sounded really good, especially as he seemed to have a sore throat. The lighting was really cool at times I thought and they did one song that I have an acoustic version of that they really rocked up and it sounded brilliant (I don’t know the name of it- they did it at the BBC session and it says untitled!)
Minor gripes; I don’t think there was one member of the band that didn’t sing a song (even the bloody drummer sang one!) which seems a bit of a waste; like getting some gormless ballboy to play a set at Wimbledon whilst Nadal sits drinking some barley water and staring into space. Actually those songs were OK, and the covers, and I thought the whole set was pretty good (oh OK they pushed it a bit at the encore, but the very last song made up for it.)
I do just enjoy watching Conor, I like watching him fall apart a bit, and stumble round, and I especially like it when he SCREAMS. The final song (which I have discovered is called Breezy) saw Conor take to the keyboards, for this ballady number, then halfway through the song kicked in (I Believe in Symmetry style!) and there was a fair amount of shouting. It felt like a moment. It was an absolutely brilliant song and I want it now!
I actually thought him playing no Bright Eyes tonight was just right. I’m sure some eyelinered teens will have been disappointed. But I’m older. I’ve seen him on five or six tours now. They just should have been born earlier!
PS. I think Conor will be our Madonna and go a bit pop/ dancey next. I’m hoping anyway.

Music: Conor Oberst- Conor Oberst

Well, I expected the worst, which paid off, as I really like this album. Yes, it is country. Yes it is dated, unoriginal, lyrically regressed. But there is something lovely about it. If you can just forget Bright Eyes for a minute.
This is easy-listening Conor, which is offensive, obviously, as the beauty of him has always been in the pain, the raw emotion. But it's not awful for him to be reflective, or mellow. It's just awful when he sounds like he's going to go 'yee-ha!'
Cape Canaveral is a soft, tender start to the album. I think I like the pared down ones the most. Get Well Cards could easily be on Cassadaga (it's quite Hot Knives-esque). He does sound like he's doing a Brandon Flowers impression on it, which is peculiar, but not entirely unpleasant. He almost shouts in parts, and he definitely goes out of tune a bit, which I like. I hate it when he's too polished but his voice does sound really strong on this album. Almost slick, but not inhuman like on 'Brakeman'.
Lenders Inside The Temple I love, I've been caning the live version of this for a while anyway. Lyrically it's Bright-Eyes strong, and very-anti country. It could be off Letting Off The Happiness. There's something really moving about it, I think it's probably the line 'I'd give a fortune to your infomercial if somebody would just take my call... take my call.' I like the wobble in his voice.
That's not to say I like ALL of this album. I think Danny Callahan and Souled Out! are both pretty average, so I was surprised they were the lead tracks from the album (this is why my hopes weren't high). They are reasonably catchy, but you wouldn't die if you'd never heard them. But Conor has always had a few throwaway tracks in his album like these (Train Under Water, for example).
The guitar/piano combination on I Don't Wanna Die in The Hospital should be highly offensive but actually the song is sooo damn catchy, it's totally forgivable. It makes me want to go to a ho-down. And he screams! Yay. NYC- Gone Gone also reminds me of this one, it's a catchy foot-stomper. If it was anyone other than Conor, I'd hate it. As it is, I love it.
Eagle on a Pole's lyrics; 'thought the kettle was a train, thought that monday was a door frame.' Has Conor been huffing too much of that magic dust again? Actually I really like that one, it's got passion.
Moab could easily be off I'm Wide Away it's Morning. Cos it's Conor, there's a stupid 50-second track which is an assault on your ears in the middle, but I couldn't cope without that these days.
Finally Milk Thistle finishes the album where Cape Canaveral started it, with understated emotion.
Do you know what, I think I like this album more than Cassadaga! There are songs I HAVE to skip on Cassadaga (Make a Plan to Love Me springs to mind- vomit), where I could happily put this on and just go for the ride. Shit, I never thought I'd say that!
Oh yeah, so here's the video for Souled Out! I was mega surprised to see Conor acting in it, normally he's soooo po-faced and not even in his videos, but here he is (with short hair again- yum) larking around (and he even has his top off at one point- oh yes!)
But you know, it's all about the music. I can't wait to go to Conor's solo gig later this month. He's back and I still love him. Always have, always will.

Glastonbury 2007 Review: Heaven & Hell

I wanted to write this review before I looked at a clip of it on TV, before I read one word about it in the press. I didn't even read the Glastonbury paper at Glastonbury so I this is completely cold, completely from my perspective. And whilst I'm queueing for the bath, with mud still under my fingernails, now seems as good a time as any.
I was fretting about the mud for a long time. I don't really go in for all this happy-clappy mud-is-fun bullshit, because it isn't. It's disgusting. I have had two or three really bad experiences in the mud before- once as a student at Homelands, off my face, when I lost my friends and ended up covered in tinfoil at the train station with blue feet. The other most prominent time was at Glastonbury, the year Paul McCartney played. Despite Morrissey playing the Sunday, my boyfriend of the time and me packed up our stuff and fucked off. We'd had enough.
This time, my boyfriend and I got the coach, so an early exit was not an option. And I can't lie to you and say I didn't pray for one at times. The coach thing in itself was a nightmare, we were penned in, our coach left an hour late, had a kamikaze driver, then stopped for 45 minutes about an hour after we got started, meaning we got to Glastonbury in the dark, Thursday evening. Luckily, it wasn't raining (then). But there wasn't much space left at all. We had to pitch our tent by a path (never wise!) near the cinema field. We just had a chance for a brief stroll around the site before we zonked.
Friday morning, it pissed it down. Luckily, due to an email I got from the Bright Eyes site, I had a heads-up that they were doing a 'secret' acoustic set in the Guardian Lounge. Actually, it must have been quite a well-kept secret because when we got there, we managed to get right to the front. How weird was this- sitting down on a carpet, in a small cafe/tent to see our favourite artist. I was absolutely convinced he wasn't going to turn up. It just seemed too exciting to actually happen. But he did. He was there right in front of us, and we were still sitting, we were virtually looking up his nose. I was the closest person in there to him. We got some great pictures (which I will post if I ever get my laptop back) and the setlist was short but fantastic. They opened with Cleanse Song, and did Southern State and A Song To pass the Time, amongst other acoustic numbers that i cannot remember at the mo. It was really beautiful, incredibly exciting and one of the best moments of my life, because I know I'll never get that close to Conor again. I am really grateful that I got that email because I would have been heartbroken to miss it and it was wonderful for me and my boyfriend to see. Have I mentioned we're avid Bright Eyes fans? At the end some people said to the violinist 'who are you guys?' How funny!
And then we came out from that protective bubble, into the rain zone. My boyfriend wanted to go see Modest Mouse so I went with him, as I like the odd song and of course, they have Mr Marr on their team now. However, just as we were getting near the front two mud people decided to try hugging us and I got annoyed. The rain was also getting seriously heavy, so I stomped off. I could see from the position of my umbrella (being carried by my boyfriend, not by me) that he wasn't moving, so I thought, fuck this, I'll go see Emmy The Great.
In between walking up to the acoustic tent, I got wetter than you could ever know. I had no umbrella, and the crappy poncho I'd bought did NOTHING! I was not happy. Managed to get to the front of Emmy, although they had a few technical difficulties I really enjoyed the set. Her voice is fantastic. She looked so little and young and her band looked really young too. Oh, I'm getting old. They sang Edward is Deadward which is one of my favourites, so I was happy, especially as the rain outside was just ridiculous. The weather forecasters should be shot, by the way. This was not a couple of showers, it actually felt like the clouds were shitting on us, it was so hard. I have never known rain like it. Shepton Mallet seems to have an entirely different weather system to the rest of the planet. It's horrible. I don't care about getting wet, it's just the mud. There's the mud that makes you slip. There's the mud that tries to eat your wellies, it is so thick and sticky. There's the mud that is like soup, and goes almost up to your knees. Having mud all over everything for three days is just disgusting. I will have nightmares about it.
But at least on Friday it did stop eventually. In fact, just in time for Bright Eyes on the main stage, which by the miracle of my acuvue contact lenses I spotted my boyfriend at the side near the front. How spoilt could I be for Conor-ness? He still hadn't washed his hair but he and and the band were decked out in mud-inappropriate white suits. I was a bit disappointed with their performance at Koko earlier this year but they really put on a great show here. The setlist was better (The Calendar Hung Itself, No One Would Riot For Less) and the orchestra was really cool. Weirdly, Conor seems less self-conscious on a grand scale than an intimate one. There was a big crowd there too, they seem to have really grown in popularity since I saw them at Glastonbury three years ago. Happy bunnies all round, although ending with Lime Tree isn't exactly a rip-roarer.
After this we saw Bloc Party, who I think were excellent, although I missed most of them because I was having a mild panic attack about the mud. On the slope going up to the Pyramid Stage it was a complete danger, so we battled backwards a bit. Kele looked very happy and like he was loving it. The sun was out then, too.
After this we gave into the mud a little and bought some fold up chairs to sit on whilst we watched Rufus Wainwright on the imaginitively-named Other Stage (although we were waiting for Arcade Fire). He reminds me of John Barrowman, I think it's the clothing. I find the music a bit bland, though. Arcade Fire were alright, but I don't like their second album and they were pushing it hard. The woman is shit too, and the lead singer looked like Christopher Walken. The crowd visibly picked up when they played Power Out. That's the only one I like anyway! One hit wonders. Then they played the other good one. Unfortunately it was too late: we were on our way to see the Arctic Monkeys.
I don't like them myself (they are far too popular!) but my boyfriend does, and I have to say, they put on a good show. Of course everyone knows all the words whether you're a fan or not, so it was good fun to sing along, and they seem like good blokes. (All the songs do sound exactly the same though, but it's one good song, so it's OK) Diamonds are Forever was a much better cover than I expected. Blessedly, we couldn't hear Dizzy Rascal when he came on cos his mic was fucked.
On Saturday morning I woke up to the sound of rain, rain, rain. We took our chairs to the Pyramid (we're such grannies) and watched The Pipettes whilst waiting for The Guillemots (and spotted Pixie Geldof- the dizzy heights!). The sun was out for The Pipettes, The Guillemots brought a storm with them. Made Up love Song and Trains to Brazil are probably in my top twenty of perfect pop songs of all time; unfortunately, The Guillemots also have several thousand dirgy, jazzy numbers that they insist on forcing upon the soaking, unwilling audience. Boo.
After this I lost the will to live and went back to the tent whilst my boyfriend went to go watch CSS and The Klaxons. You can see why I'd rather eat a packet of crisps and read my OK magazine, right? I was of course tempted out again for the delights of Patrick Wolf on the John Peel Stage. Oh, how I love Patrick. Also bumped into an old friend there, who I tried (and failed) to convert to the Wolf charms. Not sure why Patrick Wolf was on the John Peel stage, has he not proved his worth now? Would have liked to see him on a bigger stage. Still, it was a great show, with an intriguing outfit as usual, and he played all the hits and none of his quiet ones. He seemed genuinely pleased that so many people had turned out for him.
After this we headed for the Pyramid to go see The Killers. Unfortunately we had to go up the 'bad' side of the Pyramid stage and the mud there was just disgusting, really sticky and deep and people were losing shoes and pushing and shoving. I get a bit claustrophobic in crowds so I felt a bit panicked. We got up the hill and could see the stage well, but when they came on the sound was completely fucked. We couldn't hear it at all, it was so quiet. Everyone started chanting 'louder, louder, louder' but I don't think Brandon heard us. Then everyone started booing which I also don't think he heard, but it's still a shame cos it wasn't his fault. It was absolutely shit for us though, as I love The Killers. Half the people where we were left. We were so disappointed. I only saw them this year at Wembley and it was an amazing gig so I was so looking forward to seeing them again. It really was an unforgivable fuck up on the part of the festival, thousands of people were left annoyed by it. We couldn't all cram down to the front, and the mud was making things almost impossible anyway. When we tried to get out there were more pushing and shoving. There really should have been more straw put down to try and alieviate the problem. Glastonbury is overcrowded, and gets more so year after year. It's all very well making loads of new areas and letting more punters in, but when The Killers are on, everyone wants to go see them, and people get crushed. I really believe it needs to be looked at, especially with the mud issue.
So, with heavy hearts we gave up on The Killers and went back to our tent to get our trusty chairs, then went to the Cinema field to watch Borat, which was, of course, genius.
Sunday. More rain. More rain and more mud. And the worst part, no good bands on! So we took the chance to go and explore the site. I've been to Glastonbury on non-muddy years and it IS beautiful and magical. Unfortunately, once it rains, mud covers everything. Every area it was just trudge, trudge, trudge and kind of depressing. I hardly ate and didn't look in any of the shops. I was sick of the sight of mud. People who say they like the mud can just fuck off. People who prefer caking themselves in shit (because it does have shit in it) to lying in the sun are just sick.
The rain didn't really stop at all on the Sunday. My boyfriend wanted to go watch The Horrors, so we did. The audience was full of kids watching someone with a huge conk bent over and screeching like a crow. Wonderful. We went to watch the Manic Street Preachers, who I really enjoyed. They remind me of festivals, and being a teenager. I liked Nicky's red hair and the set list was pretty good, they didn't overplay the new album and they played Faster, which was ace. My boyfriend wanted to watch The Who, so we had to stand through the Kaiser Chiefs set which was quite an interesting experience! We marvelled at how shit it was and how everyone seemed to be lapping it up. It's funny because that Kaiser Chiefs dude has the opposite problem to me, a fat face and a thin(ish) body. But God, what a fat face it is. Topped off with lobster red skin and white patches for his sunglasses where he'd obviously been off on a package holiday to Spain recently. Also wearing the number one of fashion crimes (see Seany from Big Brother): a waistcoat. Each song was like a nail being driven into my heart. Pure and utter mediocrity, how could they be so massive? Simple answer, it's moron food. Well, eat it up, morons, you deserve it.
I didn't actually make it to The Who because it started tipping it down even heavier and I was cold and annoyed (and needed the loo) so I trudged back to the tent (spotting Bill Bailey on the way). I hate The Who anyway, so fuck them. We got picked up by coach at the wonderful hour of 1.30am and it was like trench warfare trying to get on that coach. I'll be having flashbacks of the rain and the mud for years to come, I'm sure.
All in all, the Bright Eyes secret set alone was worth £150 for me. I could have touched him. The music was brilliant, and would have been more so if we could have actually heard The Killers. I've since heard (I've been writing this review a long time!) that they turned it down because the neighbours complained! Fuck the neighbours frankly, we forked out ONE HUNDRED AND FIFTY QUID. They are the headline band, for fucks sake. Monumental fuck up. Bad for the band too as they had waited a while to play the Pyramid. We listened to them on the way home to make up for it.
But the mud, oh the mud. I'm just not built for it, baby. Maybe I'm just too old for festivals. Maybe I just need to move somewhere warmer. Whatever, I'm going to watch The Killers I taped.

Bright Eyes- Cassadaga

I got Cassadaga in the post today, ordered from the US with the Four Winds EP (which you stupidly can't get over here). It was such a treat opening it all, they had sent free stickers and a free mini CD (Susan Miller Rag). There is a little viewfinder thing to look at the (Smashing Pumpkins-esque) magic-eye style sleeve artwork and it felt quite magical, I felt quite sorry for people who download only. It reminded me of the excitement I felt when I first sat down with Wide Awake and Digital Ash; how exciting was THAT for a rabid Bright Eyes fan.
So here I was again. Except slightly less excited. Because I was dreading the new 'country' direction. And was I right?
As usual it opens with the dirgy tuneless talky bit sent to annoy you. Some really great songs have been first on Bright Eyes albums, lost because it's so easy to just skip, skip, skip. It's hard to tell how loud the volume is on these bits, Conor. I want to put my stereo on and get straight back in bed frankly. This song Clairaudients is quite nice, neither here nor there really, but definitely not too country.
Next is Four Winds, which I've heard a billion times now. Like it better than I used to, and some of the lyrics are really clever, although they don't really mean anything to me personally. It's catchy, radio-friendly, but so are a lot of things and it's not a compliment. This is one you just have to put up with at shows really.
If The Brakeman Turns My Way I'd heard was a good one, but the first time I heard it massive alarm bells went off in my head. Conor sounds like he's putting on some weird Southern accent that definitely isn't his and it turned me right off. He holds a note in a way I've never heard him do before and it just sounds odd. There is something really cheesy about the chorus. It could be a fifty year old singing this. Having said that, I've listened to it more and it does grow on you, but still this is the direction I don't really want Bright Eyes to go down. I don't know, 'bullet train, crazy rain': it all sounds a bit cliched to cynical me. This is my favourite band. This song just doesn't make sense to me.
Hot Knives is one of his story tracks. I think I'd like it a million times better if they turned the wank guitar down. Just turn the drums and the guitar down and turn Conor's voice up. This album is heavily over-produced. It reminds me of America's Sweetheart by Courtney Love in a way, in that there was (contrary to popular belief) about four good songs on there, they just needed stripping down massively. I do like this song, the music is just annoying somehow. I pretty much hate all female backing vocals on Bright Eyes records too. I'd like to hear this song live and see how it works then.
Make a Plan to Love Me has got Disney film love-song written all over it to me, which obviously is horrific. By this point in the first listen myself and the boyfriend were feeling very down-hearted. This doesn't seem like a genuine love song to me. I never understood the fuss about First Day of My Life, but that is five million times more meaningful than this. It's just not doing it for me at all! It's one of those ones where it's like I feel like I should love it, but actually it's so cheesy I can't. Boo. At least he's singing in his normal voice though. And no horrible guitars! Hurrah. Lots of female backing vocals though- not good. Don't get me wrong, there's plenty of female singers I like, I just think the femal backing on Bright Eyes albums is just too sugary half the time.
Soul Singer in a Session Band I know quite well from a while back. I didn't like it very much until I heard it live at Koko and it was actually very good live. The album version seems slightly too slow for my taste and I was waiting for the big shouty ending which never really happened, which was a big mistake.
Classic Cars is an awful song title, but the words are pretty good. It's a bit too country-fied for me, but he almost shouts, and at least sounds a bit pissed off. I think this one could grow. Ignore the wank guitar! Honestly, try.
Middleman I immediately recognised as he played it live at Koko last month. The intro also sounds loads like a song on the new Patrick Wolf album. This song is pretty good, a change of pace, a bit darker.
And then...
The album actually gets good.
I know you'd lost hope, and thought I was a bitter old bitch, but here it is. Song number nine! I actually felt relieved. All was not lost. My boyfriend's feet started tapping. Cleanse Song is classic Bright Eyes, Bowl Of Oranges-esque. This could be off any Bright Eyes album. No country! Yay. Just a simple, sweet under-produced song. Hallelujah!
I have had a very pared-down live version of No One Would Riot For Less for about two years. I absolutely loved the song and couldn't wait to hear a studio version of it, but then got a bit scared it was going to be an over-produced mess. Luckily they have played it pretty well, there are times when you think 'don't do it!' with the strings but it is mostly kept quite understated and atmospheric. They lyrics are really beautiful: it's all about the last line. THIS is a love song. This is the song I thought of when my tent got trampled on at V and me and my boyfriend were in sleeping bags under the stars getting rained on. It was QUITE similar to word war! I'd love to hear this live. Best thing on the album by a mile.
Coat Check Dream Song made me remember that Digital Ash wasn't just a collective hallucination: it has beats! If only we could have had a bit more of this. Ecstasy is mentioned! Conor is still a young man, not an ancient old yokel. Thank God. I love the fact there is some sort of foreign hollering on the end of this, I love the fact the country fans will hate this.
I Must Belong Somewhere I have had a live version for around two years as well, in fact I thought this was an old b-side for some reason. Can't fault it, it's a good song. He shouts less than on the version I have. Can you tell I miss the shouting? I miss the shouting LOTS.
Lime Tree I'd also heard was a goodie. It doesn't have much of a tune, but it is very stripped down which is good. The lyrics are actually meaningful and not trite. I kind of wish it would kick in though.
In conclusion, I must stress I've only listened to the album three times, and I'm sure some songs will grow. But first impressions are important too. I miss the ROCK. I miss the anger. Sadness is OK, but I liked the anger. I miss Conor's voice fucking up, because they've airbrushed it out. I think they should lose Mike Mogis, who is not a genius, as some girl shouted at Koko behind me, but rather a smug character riding on Conor's coat-tails. Conor is the genius in Bright Eyes, and his voice and lyrics are more important than any fucking fancy pedal or guitar.
Where can Conor go from here?
Hopefully somewhere else entirely. This can't be it for the next 40 years, can it...?

Bright Eyes- The Four Winds EP

Not out until March, this has already leaked onto some bitchy little website my boyfriend goes on. Normally I'm not one to download things before they come out (I'm a bit anal like that) but March?! I'm not waiting that long.
So I downloaded it. And yes, I shall purchase, because I purchase every scrap Conor (or Mozza) throws out there. Other people have to prove their mettle. These don't.
1. Four Winds.
I had already heard Four Winds, I have a live version from the Bonnaroo festival. I have also heard a song off the new album 'Soul Singer in a Session band' which is very much of this ilk. The country-folk ilk. Which is OK.
Listen: I'm Wide Awake It's Morning has three of my very favourite songs on it; We Are Nowhere, Old Soul Song and Road to Joy. They are moving and gorgeous. But Digital Ash has SEVEN of my favourite songs on it. Digital Ash is an amazing album: not the electronic beepy, unlistenable techno direction people would lie to you about. The strings on 'I Believe in Symmetry' are unbelievable. This album had more soul than any Bright Eyes album. Truly, the lyrics mean everything to me, and the tunes are just beautiful. It doesn't need a harmonica. True it didn't need the baby crying sound effects, but you know what he's like. He likes to subvert a little.
Anyhoo, I digress. Four Winds is 'Wide Awake' territory. Un-subverting. Conor seems to have embraced his country side, which is a shame as he'll be OLD for a long time! He can sit on a bale of hay when he's fifty! Conor, you're the same age as me. I want more songs about childhood memories, drugs, broken hearts, parties, cars, dead relatives. I don't like trumpets. I do like folky stuff. I like some folky stuff. But I prefer beats. I prefer ROCK if anything. Nothing beats a Conor out-of-tune scream. See: A Line Allows Progress... See: No Lies, Just Love. Do MANIC DEPRESSION. Do raw anger. Don't do sitting on your rocking chair in your porch. Or not as much, anyway. Please...?
Actually, I quite like Four Winds. It's quite catchy. But it doesn't MEAN much. I sat salivating downloading this EP because Conor MEANS everything. He is bigger than an entire genre of music. He means as much as Morrissey to me and my boyfriend. He held together a large part of our relationship. We love him. Whatever he does, we'll love him.
2. Reinvent the Wheel
Perhaps I'll actually review this track rather than just rambling uncontrollably about his back catalogue and my relationship. This is my favourite song off the EP and even this has a fucking harmonica in it. Don't hate on me, I like Rilo Kiley! I like folky stuff. But Christ. I get the idea.
However, this song is also very poppy, almost a bit 80s in feel in parts. The lyrics seem to have some meaning. I can see this being a big grower. Thank God! A good Bright Eyes song is like a best friend, you know you can turn to it again and again. It means something. It's continuously relevant. That's what I hope about this song. Although it's a bit short!
3. Smoke Without Fire
This sounds like Conor doing an impression of some old cowboy. Conor is not an old cowboy. He's a precocious, slightly jug-eared indie boy. Therefore I can't believe in it. I also hate all of his guest singers. All of them! I won't be swayed. Next!
4. Stray Dog Freedom
'Let's have a nice clean cut. Like a bag we buy and divvy up'. Perhaps an idea not to nick lyrics from songs that are better than this one for the title. Because I just start thinking about how good that song is, and I can't think about anything else. The guitar in this song is just AWFUL. I call it a 'wank guitar'. My boyfriend called it a '70s guitar'. I could tell he was none too impressed either. God that guitar is really bad. This song is really long as well. Why go backwards? Go forwards, Conor! No really. GO.
5. Cartoon Blues
Aha... I think we may have another grower on our hands. This is fast-paced, reminding me a little of 'The Calendar Hung itself...' I wasn't sure at first but I've listened to it three times now and it's getting warmer... do i like the weird robot/child/cartoon voice backing vocals? Yeah why not. At least it's not an effing harmonica.
6. Tourist Trap
This is one of those dreary Bright Eyes songs that my boyfriend likes, the ones that sound more like Death Cab For Cutie. What is the most overrated Bright Eyes song of all time? First day of My Life, of course. It's too easy. Just work for it a little more. He's going on about dogs again. What is it with the dogs? Who cares! he's chewing a bit of straw again. Zzzzzzzzzzzz.
So how dare I complain? Six tracks, two months early, great quality. I will complain because it is my human right! And I am a bitch!
I love it really. I will play all these tracks until my last.fm explodes.
I can't hide it. I love Bright Eyes. I'd listen to him read a shopping list if he did it in a cute little whiny voice. I can't wait for the album. I can't wait to see them live again. This is a good year. Just give me one little track with beats, Conor! Go hang out with The Faint or something. Please?