Album Review: Bright Eyes - 'Down in the Weeds, Where the World Once Was'

After almost a decade, Bright Eyes is back. Obviously Connor Oberst, the man behind Bright Eyes, has been busy as he always is. Oberst spent the best part of a decade working on other projects such as punk rock outfit Desaparecidos, a duo project with Phoebe Bridgers named Better Oblivion Community Centre and a whole variety of solo records. Now in 2020, Oberst has decided to revive Bright Eyes with Down in the Weeds, Where the World Once Was. Just in time I’d say. 

Persona Non Grata was the first track fans heard of the new album and it certainly sets expectations high. The piano lead track features an impassioned vocal performance from Oberst. Lyrically, the track is razor sharp as it straddles between personal and political. 

The album shows its diversity on tracks like Pan and Broom which conjures images of New Wave. Quaint little drum machines and kooky synths adorn the background while Oberst’s voice fills the foreground, occasionally dueting with another vocal. 

The duet-like backing vocals are found across the album but achieve perfection on To Death’s Heart. The five minute track has plenty of other things going for it too, building from it’s slight and atmospheric opening into a grand soundscapes. It’s rising synths and guitar leads are ear catching while the vocal steals the show, wrapping you into it’s story. While we’re talking builders on this album, Calais to Dover deserves a mention for it’s build from jaunty folk to almost arena rock balladry. The tremendous guitar solo overtop a piano laden instrumental makes you realise where the track built from. 

Any Bright Eyes fan will find something to like on Down in the Weeds. If you’ve not heard anything from Bright Eyes until now then there’s no better time to get acquainted with a modern music powerhouse.

Words by Nathan Blackstone

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