Conor Oberst making a new name for himself

by Dan Gephart in New Releases

It’s time to drop the emo label, gang. Conor Oberst is no longer the indie wunderkid. He’s dropped the Bright Eye’s moniker, for now that is. And at 28 years old now, he’s one of the best folk-rock singer/songwriters we have. Oberst’s self-titled album is clearly one of the standout releases in this musical year so far — one whose lyrics will keep you coming back for more.

A lot has been made of his decision to use his own name. (The album is also credited to the Mystic Valley Band). Was this decision a statement about his growing maturity or independence? Or was it simply that his longtime collaborator Mike Mogis was unavailable? It doesn’t matter.
Conor Oberst is the artist’s third straight exceptional album — a streak that includes Cassadaga, one of last year’s best, and 2005’s I’m Wide Awake, It’s Morning. (I’m disregarding the electronic Digital Ash in a Digital Urn released simultaneously with Wide Awake).
Whereas Cassadaga dealt with the spiritual world, Oberst seems to contemplate his own immortality with songs that reference sickness and oncoming death, most notably Danny Callahan (”bone marrow/bald little boy”) and the rollicking I Don’t Want to Die (In the Hospital). The album kicks off and ends with two hushed classics Cape Canaveral and Milk Thistle.
But it’s not all introspection and depression. The guitar jig NYC – Gone, Gone is 71 seconds of pure fun. Oberst seems particularly loose in the catchy Souled Out!! The Mystic Valley Band swings like the Old 97s on Danny Callahan and sounds like a seasoned band on the bouncy Sausalito.
Gone is the crackling, precocious voice. OK, maybe not gone. But Oberst has definitely toned it down. And while still dealing with big subjects, Oberst seems to be taking a more organic approach. In other words, he sounds less pompous. He’s focused. And the songs are poignant.