{"title":"Bright Eyes","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eBright Eyes is an American indie rock band founded by singer-songwriter and guitarist Conor Oberst. The band consists of Oberst, multi-instrumentalist and producer Mike Mogis, trumpet and piano player Nate Walcott, and a rotating lineup of collaborators from Omaha's indie music scene. Bright Eyes is signed to Saddle Creek Records, a Nebraska-based label founded by Conor Oberst's brother Justin Oberst and Mike Mogis. They have been active since 1995 with a hiatus from 2011 to 2020.\u003c\/p\u003e\n\u003cp\u003eKnown for their introspective lyrics and emotive sound, Bright Eyes has garnered critical acclaim throughout their career. Their music often explores themes of love, loss, and existentialism with poetic depth. Conor Oberst's distinctive voice combined with the band's eclectic instrumentation creates a unique sonic experience that resonates with fans worldwide.\u003c\/p\u003e\n\u003cp\u003eWith numerous albums under their belt, including \"Fevers and Mirrors,\" \"I'm Wide Awake, It's Morning,\" and \"The People's Key,\" Bright Eyes has established themselves as one of the most influential indie rock bands of their generation. Their live performances are known for their raw energy and emotional intensity, captivating audiences wherever they go.\u003c\/p\u003e","products":[{"product_id":"letting-off-the-happiness","title":"Letting Off The Happiness","description":"\u003cp\u003eThe second Bright Eyes album, originally released in 1998. It's ten intimate self confessional songs of life, love and tenderness. 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From Conor Oberst’s early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes’ music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It’s a study of the beauty in unsteadiness in all its forms – in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it’s just about searching for a way through.\u003cbr\u003e \u003cbr\u003eThe year 2020 is full of significant anniversaries for Bright Eyes. \u003ci\u003eFevers and Mirrors\u003c\/i\u003e was released 20 years ago this May, while \u003ci\u003eDigital Ash in a Digital Urn\u003c\/i\u003e and\u003ci\u003e I’m Wide Awake It’s Morning\u003c\/i\u003e both turned 15 in January. The latter, a singer-songwriter tour-de-force released amidst the Bush presidency and Iraq war, wades through incisive anti-war rhetoric and micro, intimate calamities. On the title track and throughout the record, Oberst sings about body counts in the newspaper, televised wars, the bottomless pit of American greed, struggling to understand the world alongside one’s own turmoil. In its own way, I’m Wide Awake It’s Morning carved out its place in the canon of great anti-war albums by being both present and prophetic, its urgency enduring 15 years later.\u003cbr\u003e \u003cbr\u003eIn 2011 the release of \u003ci\u003eThe People’s Key\u003c\/i\u003e, Bright Eyes’ ninth and most recent album, ushered in an unofficial hiatus for the beloved project. In the time since, the work of the band’s core members – Oberst, multi-instrumentalist Mike Mogis, and multi-instrumentalist Nathaniel Walcott – has remained omnipresent, through both the members’ original work and collaboration.\u003cbr\u003e \u003cbr\u003eIn recent years, Mogis produced records for beloved folk acts First Aid Kit and Joseph, among others, as well as mixed the fine-spun ennui of Phoebe Bridgers’ breakthrough 2017 debut, \u003ci\u003eStranger in the Alps\u003c\/i\u003e. Mogis and bandmate Walcott also teamed up to write the original scores for\u003ci\u003e The Fault in Our Stars, Stuck in Love\u003c\/i\u003e, and \u003ci\u003eLovely Still\u003c\/i\u003e, and Walcott worked as a solo composer scoring number of independent feature-length films. Walcott spent extensive time on collaboration; in addition to his arrangement work for Mavis Staples, First Aid Kit, and M. Ward, he contributed studio work to artists ranging from U2 to jazz guitarist Jeff Parker, and also toured heavily as a member of the Red Hot Chili Peppers. \u003cbr\u003e \u003cbr\u003eOberst, who’s nearly 30 years into a prolific musical career, spent the last decade in similarly productive fashion. Across three years he released a string of solo albums:\u003ci\u003e Salutations\u003c\/i\u003e (2017), \u003ci\u003eRuminations\u003c\/i\u003e (2016), and \u003ci\u003eUpside Down Mountain\u003c\/i\u003e (2014), as well as guested on records by First Aid Kit, Phoebe Bridgers, and Alt-J. His punk band, Desaparecidos, emerged from a 13-year hiatus in 2015 with the thunderous sophomore LP, Payola, a white-knuckled disarray of hollered political fury. And at the top of 2019, Oberst and Bridgers debuted their new band, Better Oblivion Community Center, digitally dropping the critically-lauded eponymous debut LP alongside a surprise performance on The Late Show with Stephen Colbert.\u003cbr\u003e \u003cbr\u003eThe heart at Bright Eyes’ songwriting still looms culturally, in films and TV shows and through re-imaginings by other artists. Mac Miller covered both \u003ci\u003eLua \u003c\/i\u003eand \u003ci\u003eFirst Day of My Life\u003c\/i\u003e; Lorde’s version of the penultimate The People’s Key track, the funereal-waltz \u003ci\u003eLadder Song\u003c\/i\u003e, was a focal point of The Hunger Games’ soundtrack; The Killers covered \u003ci\u003eFour Winds\u003c\/i\u003e for their\u003ci\u003e Spaceman\u003c\/i\u003e EP; and Lil Peep’s \u003ci\u003eWorlds Away \u003c\/i\u003esamples \u003ci\u003eSomething Vague \u003c\/i\u003ewhile Young Thug’s \u003ci\u003eMe Or Us\u003c\/i\u003e samples \u003ci\u003eFirst Day of My Life\u003c\/i\u003e.\u003cbr\u003e \u003cbr\u003eBright Eyes’ expansive catalog has traversed genre, sound, and countless players; unpolished demos or fuzzy folk, electrified rock or country twang. The sharp songwriting and musicianship is all anchored in Bright Eyes’ singular ability to flip deep intimacy into something universal. For so many, for so long, listening to Bright Eyes has been like hearing yourself in someone else’s song – a moment of understanding or illumination, knowing you’re on the same team looking for a way to move through of all this shit.\u003cbr\u003e \u003cbr\u003eAnd while 2020 is a year of milestones for the band, it’s also the year Bright Eyes returns, newly signed to indie label Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Oberst, Mogis, and Walcott reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes’ output. 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The self-produced album embraces the elusive quality that has made \u003cstrong\u003eBright Eyes\u003c\/strong\u003e enduring and influential.\u003c\/p\u003e\n\n\u003cp\u003eTheir homespun sound has reached devoted audiences worldwide, promising that our loneliest thoughts and feelings can take on grander shapes when shared. Notable guest appearances on the record include \u003cstrong\u003eCat Power\u003c\/strong\u003e on \"\u003cem\u003eAll Threes\u003c\/em\u003e,\" \u003cstrong\u003eThe National\u003c\/strong\u003e's \u003cstrong\u003eMatt Berninger\u003c\/strong\u003e on \"\u003cem\u003eThe Time I Have Left\u003c\/em\u003e,\" and \u003cstrong\u003eAlex Orange Drink\u003c\/strong\u003e from The So So Glos.\u003c\/p\u003e\n\n\u003cp\u003eThe band's fast-paced approach in the studio drew inspiration from influences like The Replacements and Frank Black, resulting in a record that thrashes, squirms, and resists classification. \u003cem\u003eFive Dice, All Threes\u003c\/em\u003e is a mix of galloping rhythms, funereal horns, shouted vocals, and contemplative, psychedelic material.\u003c\/p\u003e\n\n\u003cp\u003eIt invites deep listening and showcases \u003cstrong\u003eBright Eyes\u003c\/strong\u003e honoring the album as its own exalted work of art. 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In Oberst’s songwriting lies a promise that our loneliest thoughts and feelings can take on grander shapes when passed between friends, blasted through speakers, or shouted among crowds. This time around, the band invites such like-minded voices onto the record with them, with notable guest appearances from Cat Power (“All Threes”), The National’s Matt Berninger (“The Time I Have Left”), and Alex Orange Drink, the frontman of the New York punk band The So So Glos, who co-wrote several songs and shares a climactic verse in the surging “Rainbow Overpass.” When they hit the studio with Oberst’s longtime bandmates—the multiinstrumentalist and producer Mike Mogis, the keyboardist and arranger Nate Walcott—they opted for a fast-paced approach that drew inspiration from formative influences like The Replacements and Frank Black. They sought textures that burst from the mix like gnarly splashes of paint on a blank canvas; they opted for first takes and spontaneous decisions. 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And while a Bright Eyes ska song was likely not on this year's bingo card (or game board), '1st World Blues,' cowritten with Alex Orange Drink (So So Glos), makes a case for a third wave of the genre, with its biting takedown of contemporary American civilization decline, propelled by gang vocals and an infectious off-beat rhythm.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCultural references both high and low-brow pepper the EP - namechecking everyone from Salman Rushdie, Joe Strummer, and Candace Bergen in 'Victory City' and Shakespeare, Guy Fawkes, and Mrs. Peacock from the classic boardgame 'Clue' in 'Shakespeare In A Nutshell.'\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut it's the cover of Lucinda Williams' 1980 track 'Sharp Cutting Wings (Song For A Poet)' that is really the heart of this collection. Oberst and Williams share a clear musical commonality, both experts at weaving together melancholy and hope. 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