Bright Eyes — Down In The Weeds, Where The World Once Was (Aug. 21, 2020)USA FLAG Bright Eyes — Down In The Weeds, Where The World Once Was (Aug. 21, 2020)  Bright Eyes — Down In The Weeds, Where The World Once Was (Aug. 21, 2020)První album Bright Eyes za 9 let, Down In The Weeds, Where The World Once Was v čirém a průsvitně oranžovém vinylu. Také na červeném a black. Strana D obsahuje animovaný fenakistoscope lept od umělce jménem Drew Tetz (viz tag). To je viditelné z kamery umístěním disku na gramofon pod přímým světlem. Viditelné pouhým okem pomocí blesku.
„Conor Oberst postavil myšlenku na tom, jak se kapela vrátila zpět během prosincové párty (2017) v baráku Nate Walcotta,“ píše se v prohlášení. „Oba se schovali v koupelně a zavolali Mike Mogise, který nakupoval dárky v Omaze. Mogis okamžitě řekl: ano.“ V prohlášení byly sdíleny další podrobnosti o koncepci Down In The Weeds, čímž bylo vysvětleno, že album — dosud nejuznávanějšího úsilí Bright Eyes — pramenilo z jediného dema, napsaného „v kinech v Omaze a v kouscích a větších kusech ve Walcottově domě.“ Když mluvíme o novém přístupu skupiny ke psaní, frontman Oberst řekl: „Naše historie, přátelství a společná míra důvěry je hluboká a úplná. A já jsem chtěl, aby to vypadalo co nejvíce jako tříhlavé monstrum.“
„Výroba videa začala na počátku karantény,“ napsalo studio ve svém prohlášení. „V 18~ti různých ložnicích po celém světě, při poslechu Bright Eyes a udržování vzájemné společnosti jsme dostali šanci spolupracovat na příběhu o přijímání a oslavě změn. Animace se skládá z 2.200 ručně ilustrovaných inkoustových obrazů, založených na originální 3D animaci a archivních záznamech. Doufáme, že vás vzrušuje představovat si, že všechno může být nové.“ Bright Eyes. © 2020 Danny Cohen.
Location: Omaha, Nebraska, United States
Genre: Indie Rock, Synth~Pop
Album release: August 21, 2020
Record Label: Dead Oceans
Duration:     ...
Tracks:
LP 1 / Side A:
01. Pageturners Rag
02. Dance and Sing
03. Just Once in the World
04. Mariana Trench   3:42
LP 1/Side B:
01. One and Done   4:52
02. Pan and Broom
03. Stairwell Song
04. Persona Non Grata   3:32
05. Tilt~A~Whirl
06. Hot Car in the Sun
LP 2/Side C:
01. Forced Convalescence   4:09
02. To Death’s Heart (In Three Parts)
03. Calais to Dover
04. Comet Song
MARIANA TRENCH
01. Mariana Trench   3:42
02. One and Done   4:53
03. Forced Convalescence   4:09
04. Persona Non Grata   3:32
Personnel:
Conor Oberst — vocal
Mike Mogis — electric guitar, synth bass
Nathaniel Walcott — synthesizers, electric piano, horn arrangement 
Flea — bass
Jon Theodore — drums, percussion
Kip Skitter — percussion
Jesca Hoop — vocal
Miwi La Lupa — vocal 
Horns: 
Trumpet: Jon Lewis, Dan Rosenboom 
Trombone: Alex Iles, Steve Holtman  
Baritone Saxophone: John Mitchell 
Produced by: Bright Eyes
Engineer: Michael Harris
Engineer: Steve Churchyard Assistant engineer: Chris Cerullo
Assistant engineer: Chandler Harrod Mixed by: Mike Mogis 
Mastered by: Bob Ludwig Engineered by: Tim Thomas
Notes: 
2xLP
2~inch die cut hole through the entire package revealing the LPs from both sides.
Side D contains an animated phenakistoscope etching by Drew Tetz. This is viewable from a camera by placing the disc on the turntable under direct light. Viewable to the naked eye through the use of a strobe.
4~panel lyric booklet.
DESCRIPTION:
■  As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one’s memories, trying to find the preciousness that’s overgrown and unrecognizable. For Conor Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn’t actually possible to go back to the way things were, even though there wasn’t an easy happy ending, there was a new reality left to work with. 
■  In 2011 the release of The People’s Key, Bright Eyes’ ninth and most recent album, ushered in an unofficial hiatus for the beloved project. In the time since, the work of the band’s core members — Oberst, multi~instrumentalist Mike Mogis, and multi~instrumentalist Nathaniel Walcott — has remained omnipresent, through both the members’ original work and collaboration. The friendship remained solid and their projects overlapped from time to time, with Oberst and Mogis living next door to one another in Omaha and Walcott’s Los Angeles home just fifteen minutes away from Oberst’s house on the East Side, where he’s spent the bulk of his time over the last few couple of years whilst working on his most recent solo records and Better Oblivion Community Center. 
■  The end of Bright Eyes’ unofficial hiatus came naturally. Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Walcott’s house. The two huddled in the bathroom and called Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes’ most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott’s home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: “Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three~headed monster as possible.” 
■  In spite of all its newness, the LP feels like the most complete amalgamation of Bright Eyes. The symphony’s presence recalls Walcott’s orchestral arrangements on Cassadaga, while hyper~percussive elements and effects conjure Digital Ash. The jolting intimacy of Oberst’s singular voice and its folk songwriting core are the same foundations of Lifted and I’m Wide Awake. And overblown acoustic guitar marks Mogis’ production reaching back in time to the original recordings Oberst made on a 4~track 25 years ago.
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DREW TETZ: https://drewtetz.com/