Let me tell you right now... I love Conor Oberst. He is probably one of my favorite song writers of all time, if not number 1. I have loved more or less everything he's put out except for Lifted.... Because that record was really half assed, except for 'Lover I Don't Have To Love'. So none the less, I was bummed when I found out he was leaving the rest of his rotating gang of pals in Bright Eyes for a solo record and the "Mystic Valley Band". Turns out, I shouldn't have been bumed at all.... Conor Oberst's solo record was so good. So good. And I got wind there was a new recording coming soon,
Outter South, and REAL soon. So naturally, there was a web rip available in my various manners of acuqiring music..... And I'm going to review it because I do that on this blog.
The record opens with 'Slowly (Oh So Slowly)' and it's the first track that was available, also I had been introduced to said song on their last tour. And I can safely say it picks up on the more Americana traits the Mystic Valley Band have. 'To All the Lights In the Wind' is a track that feels like it could have been on the
Four Winds EP, it feels Americana, but, more 3rd wave Bright Eyes (And you know what I mean). One thing I notice about this record is that Conor goes back to having more longer songs, the second track being on the 5+ minute side and also making a stupidly long record, at like 16 tracks, it's one of the longer records Conor's put out. I am personally not a fan of long records, I feel like they're B-Side compliations or rap mix tapes. Nothing wrong with either, but, if you're Conor Oberst, I think you could have done what they did with Gentleman's Pact and release a tour only EP with 4 tracks on it instead of a 16 track record.
Something else I have not noticed before on C.O. and co. records, is vocal tracks by other members of the band. 'Big Black Nothing' features just that. And.... I actually really like it. The track is really good, I think it fits their whole Americana, midwest sound well and compliments Conor's croon. The track has one of those sweet marching snare drums and the high-hat opening at the end of phrases makes an awesome sound. 'Air Mattress' also doesn't feature Conor vocals (As well as 'Difference is Time', 'Bloodline', 'Worldwide', 'Eagle on a Pole', and 'Snake Hill'), and feels strangly like a Fountains Of Wayne song, with synthesizers in the background. The chors to 'Air Mattress' also does not feel like a Conor Oberst song, perhaps there was more collaborative writing on this record, or they just experimented with having other members take the lead for a little. 'Air Mattress' does however feature a cool guitar solo.
'Cabbage Town' goes back to the Conor Oberst blanket of familiarity, although the song lacks any memorability to it. 'Ten Women' is also another track I had heard before from the show I saw in NYC and I love this track especially. It feels very much like a blues track but still slightly soulful and longing. 'Nikorette' brings back Conor's vocals and the awesome American sound that he's been rocking. And this may or may not be the best track on the record, it definitely feels like it would have fit on the first CO&MVB record. 'White Shoes', 'Bloodline' (Sans Conor vocals), and 'I Got The Reason' (The longest track on the record, 7+ minutes) are also note worthy tracks. However, the re-recording of 'Eagle On A Pole' from the first record, throws me for a loop. I don't think I like the extra instrumentation or not. If they would have kept those chugging tom drums and left Conor's vocals there, it would have been great. But.... I dunno. I'm definitely feeling the original version more, it was more passionate.
Overall, I'm rather pleased with the second MVB record, it's a good sophomore record, not as good as the first, but definitely NOT displeasing.
