Be like Mike (Mogis)

"Cassadaga" is a darn good listen
Oz writes about how awesome Conor Oberst is ... again



Some experts have declared the CD dead and archaic in the wake of the digital revolution. Artists have taken steps to entice fans to actually purchase a physical copy of the album – some artists like equally praised and maligned outfit Bright Eyes.
"Cassadaga," the seventh full length release on Saddle Creek from this Omaha troupe, appears like an artist’s static representation of white noise, but inside, the listener can find a "spectral decoder" that illuminates the ghostly world of the album, Ouija board style. This trick alone is worth the cost of the album.

Musically the album is pretty standard issue indie folk rock upon first listen, almost to the point of disappointment after the 2005 release, "I’m Wide Awake It’s Morning" and the build up of the "Four Winds" EP.

However, the power of the album lays not so much with the songwriting as with the production. The fact that nearly 30 songs were recorded for this album demonstrates leading man Conor Oberst has no want for material. However, the key to the songs that made the cut is the slick production by band member and sound engineer extraordinaire Mike Mogis and the arrangement of the strings and woodwinds by newest full time Bright Eyes member Nate Walcott.

The orchestral tones on the dissenting "No One Would Riot for Less," desperate "Make a Plan to Love Me," and Dust Bowl-esque "Middleman" save the tracks from falling into the overflowing pile of Oberst acoustic rants. It appears that, like 2002’s "Lifted," Conor has opened his doors again to a growing band of musicians, but this time, Mogis knew what to do with them. The slick production of the cumbersome opening track (a Bright Eyes tradition), "Clairaudients" sets the spectral stage and allows for a smooth and accessible transition into the rest of the album.

The songs reek of apocalyptic apprehensions, ethereal experiences and experimental spirituality, but fail to come full circle—a theme shoved down the listener’s throat during most songs. The first single, "Four Winds," with its punchy violin and gentle melody, portrays the imminent anthro-driven end of the world. Plus, what other song could so deftly talk about the "Whore of Babylon?" On "If the Brakeman Turns My Way" Oberst again throws his guts on the table—reminiscent of his early work—but this time the despair is less solipsistic, and the music and lyrics speak to maturity and profound questioning.

Oberst kisses off an older woman (who may or may not be ex-beau Winona Ryder) in "Classic Cars," where he mocks her preachy and condescending duplicity. Finally, "Soul Singer in the Session Band" returns to the cathartic themes of songs past starring a singer as the tortured and exposed artist, but this time brings in more veiled industry references. Although "Cassadaga" may not be the proverbial epic album that most were expecting, it still has a place in the Bright Eyes catalog.

Dental School

Gimme Shelter

First full day in DC with Kendra. Her parents were here, and we all made a day of it in Old Town Alexandria. Pictures and more adventurous stories to follow. But we did encounter a familiar face in Georgetown. He was sitting on a bench outside a Barnes and Noble. You'd think he could have at least picked an independent store. They're all over the place.

Kendra's mom: "He's creepy. I'm glad I wasn't with you guys because I probably would have kicked his feet."

Oh and for the Mullenites in the audience...We were in a great store called Ten Thousand Villages, and I heard my name called. Katie Murray (class of '02) happened to be visiting Alexandria from Charlotte where she's doing TFA and happened to be in the store. She said she recognized my voice. Who could forget it? That beats your pigeon story Jax!





From a WTD friend...
Naturally.


and.....

courtesy of Lisa, Peter's rewrite of Kelly. Pour it on.

Flobots

On Thursday, I took Joey for a ride and we headed up to Santa Monica for a bit of an adventure. Hip-hop Denver locals,the Flobots, were playing in LA as a part of their Flobots Rising Tour (which included stops in Omaha, LA, Oakland, and Salt Lake). I had been trying for weeks to get San Diego friends to abandon their typical Thursday night rituals and head up with me to get their faces rocked. ALas, true to form, people bailed for various reasons. Oh well, their loss...

Back in January, I had my first Flobots experience at the Gothic in Englewood. This collective (guitar, lyricists, bass, trumpet, viola, and drums) performed one of the best live sets I've ever seen. Yes. One of the best live sets I have ever seen. Since then, their EP--Platypus--has not left my car, and I now proudly endorse them to whomever I think will listen. Politically infused and strikingly intelligent, Flobots lyrics have a way of getting under your skin...in a good way. The music is airtight, and who wouldn't love some slap bass, a string picking viola, and crisp trumpeting? I remember thinking that all I could do was picture them in front of a crowd in a tent at Coachella as the sun is setting.

After dinner and wandering around SM for a while, I parked Joey around the block and met up with former WTD member and fellow D-towner Andy at Temple Bar for a pre-show catch up. Soon, Andy and crew had to head into the venue to get ready for their set. It wasn't long before the WTDers filtered in. First I found my SXSW/subway ID companion, B-reh, then my favorite pop fan, Joy. Then "so indie it hurts" Matt and my favorite Canadian, Meredith joined the party. The showtime group was completed when Jennifer Keppel and Ron W. Roecker himself joined us on the dance floor for the set.

Despite minor technical difficulties, the band opened with some a Capella rhymes courtesy of Jonny 5. For the next intro, he was joined by drummer Kenny Ortiz, bassist Jesse Walker, violist Mackenzie, Brer Rabbit, and finally Andy on guitar (with a functioning quarter inch cable!). The enthusiastic crowd at first consisted mainly of friends of the band and friends of friends of the band, but it wasn't long before the bar hoppers wanted in on the party.

The band played a score of new songs from a new release that will hopefully be out sooner rather than later and will be heard by all the right people to catapult them to a deal. But hey, when all else fails, just Clap-Your-Hands-it right? New songs include politically conscious, anthemic "Stand Up," creative Turtles cover, "Happy Together," and lyrical masterpiece, "DARE," They also played staples including "No W" and perennial closer "Handlebars." By the end of the set, even the skeptical were rocking to the infectious beats. I can legitimately claim that they are the best unsigned band I have heard in recent memory. The best.

Following the set, WTD danced the set change away, then got a round of sweaty hugs from our second most excitable member. Who ever could be the most excitable person be? We were joined by Katie, and shared some rounds followed by a late night (early morning?) meal at Swingers down the street. Despite protests from my companions, I drove home and made it in time to get six hours of sleep in the green machine before heading off to class.

So do yourself a huge favor and check out one of their live shows when they are in your area. If you are in Denver, you can readily find a show at your favorite local venues. If not, find them at flobots.com or on the Space

Check out Ron's Review here