#193
Conor Oberst - Conor Oberst (Merge, 2008)
I suppose we can never be entirely sure why Conor Oberst decided to ditch the Bright Eyes moniker, but I'd imagine it pretty much boiled down to a desire to remove himself from the "emo" albatross that continued to hang around his neck. With his sights clearly set on newer ways to stretch out his songwriting, he didn't really need one more wrong-headed tag to set people's expectations against him before hearing a single note. This eponymous release also marked another interesting milestone, his first record not released by the Omaha label that he was instrumental in putting on the map, Saddle Creek. I think this record will be looked back on as a significant turning point in his career, one in which he struck out in a new direction by burying himself in a scene of the past. As evidenced clearly by tracks like "Sausalito" and "Moab", there is a tremendous 1970s Southern California folk-rock vibe that permeates the entire album - and I think it works really well with Conor's style of songwriting. Gentle folk rubs up against clean and clear electric guitar meanderings, surrounded by a playful, collaborative vibe and sprinkled with Americana imagery. As with some of his best Bright Eyes work, the musicians are all top-notch and able to keep him from giving in to his more insular instincts - there is virtually no pretentious meta-references or needless field recordings. It probably won't be remembered as his most essential work, but it will be recalled as a vital stepping stone.
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