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Lifted or The Story Is in the Soil, Keep Your Ear to the Ground ~ Bright Eyes |
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Track Listings
| 1. Spindle A Darkness A Fever And A Necklace |
| 2. Scale A Mirror And These Indifferent Clocks |
| 3. Calendar Hung Itself |
| 4. Something Vague |
| 5. Movement Of A Hand |
| 6. Arienette |
| 7. When The Curious Girl Realises She Is Under Glass |
| 8. Haligh Haligh A Lie Haligh |
| 9. Centre Of The World |
| 10. Sunrise Sunset |
| 11. Attempt To Tip The Scale |
| 12. Song To Pass The Time |
Product Description
Amazon.co.uk Review
It's rare that pop music reaches such depths of emotion. Fevers And Mirrors, the debut album from Conner Oberst's Bright Eyes, may recall many other classic tortured artists-- Tim Buckley, naive blues poet Daniel Johnston and Leonard Cohen not least among them--but its fragility and melancholy is most definitely its own. The pivotal track is the opening "A Spindle, A Darkness, A Fever, And A Necklace" wherein the Nebraska-born singer's trembling voice attempts to answer a fuzzy recording of a child pleading a dread of separation, and fails. Elsewhere, on songs like the frantic "The Calendar Hung Itself" and "Sunrise, Sunset", the melodies become even more poignant, even more beautiful. Tinny keyboards, rapid-fire drum-beats and the odd guitar all sweeten the mix. Oberst first started detailing his desire and lack of fulfilment six years ago, as a 14-year-old prodigy in the band Commander Venus--and one can only imagine that a major cult will grow up around this tortured, mysterious, ex-Catholic. An extraordinary album. --Everett True END
Description
While 2002's LIFTED was the record that blew Bright Eyes and its hyper-poetic frontman, Conor Oberst, into the public'sconsciousness and up the Billboard charts, its predecessor,FEVERS AND MIRRORS, put him on the next-big-thing map. The third official album in the band's catalog, FEVERS AND MIRRORS finds Oberst & Co. codifying the vision nascently established on LETTING OFF THE HAPPINESS. Oberst furiously wrestleswith his emotions as he upends confessional singer-songwriter tropes while producer and multi-instrumentalist Mike Mogis frames his whims in shifting, episodic textures that include pulsating organs, dulcimers, and vibraphones.
As with all Bright Eyes albums, this one begins and ends with Oberst's strong songwriting and preternatural gift for dramatic, narrative lyricism. "A Scale, A Mirror, and Those IndifferentClocks" includes the line "Now I know a disease that these doctors can't treat/you contract on the day you accept all you see". Oberst seems to be kicking and screaming against this possibility through a strained larynx--most notably on the anthemically strung-out "Calendar Hung Itself" and the eruptive refrains of "Sunrise Sunset". While "Something Vague" and "Haligh, Haligh, A Lie, Haligh" each predict the operatic alt.country the band would perfect on CASSADEGA. Here Oberst is still embracing his influences--openly channeling Eliot Smith on the opening track and SISTER LOVERS-era Alex Chilton on "The Center of the World". Arguably, pound for pound the best Bright Eyes album, FEVERS AND MIRRORS captures Oberst before the masses did.
It's rare that pop music reaches such depths of emotion. Fevers And Mirrors, the debut album from Conner Oberst's Bright Eyes, may recall many other classic tortured artists-- Tim Buckley, naive blues poet Daniel Johnston and Leonard Cohen not least among them--but its fragility and melancholy is most definitely its own. The pivotal track is the opening "A Spindle, A Darkness, A Fever, And A Necklace" wherein the Nebraska-born singer's trembling voice attempts to answer a fuzzy recording of a child pleading a dread of separation, and fails. Elsewhere, on songs like the frantic "The Calendar Hung Itself" and "Sunrise, Sunset", the melodies become even more poignant, even more beautiful. Tinny keyboards, rapid-fire drum-beats and the odd guitar all sweeten the mix. Oberst first started detailing his desire and lack of fulfilment six years ago, as a 14-year-old prodigy in the band Commander Venus--and one can only imagine that a major cult will grow up around this tortured, mysterious, ex-Catholic. An extraordinary album. --Everett True END
Description
While 2002's LIFTED was the record that blew Bright Eyes and its hyper-poetic frontman, Conor Oberst, into the public'sconsciousness and up the Billboard charts, its predecessor,FEVERS AND MIRRORS, put him on the next-big-thing map. The third official album in the band's catalog, FEVERS AND MIRRORS finds Oberst & Co. codifying the vision nascently established on LETTING OFF THE HAPPINESS. Oberst furiously wrestleswith his emotions as he upends confessional singer-songwriter tropes while producer and multi-instrumentalist Mike Mogis frames his whims in shifting, episodic textures that include pulsating organs, dulcimers, and vibraphones.
As with all Bright Eyes albums, this one begins and ends with Oberst's strong songwriting and preternatural gift for dramatic, narrative lyricism. "A Scale, A Mirror, and Those IndifferentClocks" includes the line "Now I know a disease that these doctors can't treat/you contract on the day you accept all you see". Oberst seems to be kicking and screaming against this possibility through a strained larynx--most notably on the anthemically strung-out "Calendar Hung Itself" and the eruptive refrains of "Sunrise Sunset". While "Something Vague" and "Haligh, Haligh, A Lie, Haligh" each predict the operatic alt.country the band would perfect on CASSADEGA. Here Oberst is still embracing his influences--openly channeling Eliot Smith on the opening track and SISTER LOVERS-era Alex Chilton on "The Center of the World". Arguably, pound for pound the best Bright Eyes album, FEVERS AND MIRRORS captures Oberst before the masses did.
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What Do Customers Ultimately Buy After Viewing This Item?
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69% buy the item featured on this page: Fevers and Mirrors £17.09 |
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12% buy Cassadaga £4.98 |
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8% buy Lifted or The Story Is in the Soil, Keep Your Ear to the Ground £6.98 |
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6% buy Letting Off the Happiness £4.98 |
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