Digital Ash

Fans of The Postal Service, bring a spare change of panties. Supporters of progressive idealism, you too. Maybe even bring your impressionable significant other. Okay now, people who don’t jump off the bridge, quit reading. Trust me. I know it’s Bright Eyes and all, the cute, cute, cute, cute, cute, cute boy we love to hate (for being cute) and hate to love (for being brilliant). But trust me, this one really isn’t worth your time. Not unless you’re still discovering new sounds in an attempt to find your wheels. Are you impressionable? Keep reading. 

Bob Dylan. There, we got that out of the way. Really though, as a music fan, you must have had the “Dylan goes electric?!” yarn jostled down your throat at least 12 times. The fact is, Dylan’s crossover was that vital. So now onto the “new Dylan” and his new crossover. Ugh. Sorry, Robert Z.

To accompany Bright Eyes’ latest masterwork, I’m Wide Awake, It’s Morning, the mope has (simultaneously ) released his first truly experimental album, Digital Ash in a Digital Urn. So is it a total loss? Ah, no, Digital Ash in a Digital Urn is actually brilliant. The actual content isn’t of much note; the ambition, however, is inspiring. When contrasted to the level of mastery on Awake, Ash is an inspiring work by an artist who isn’t afraid to take a chance. Not scared, man, so as long as he has a “real” album out as well.

Accompanied by something like 400 of his closest friends, Conor Oberst crafts a collage of electronic sound very similar to the work of Jimmy Tamborello and basically every other electro-pop artist who has released an album in the past two years. The lyrics are still effective at times, though never as moving as the New World commentary heard on Awake.

One highlight is the attendance of Nick Zinner (the stick man standing directly in the shadow of the notorious Karen O) and his swirling, ahead-of-its-time guitar and key work on five of Digital‘s songs. Bleep-master Jimmy Tamborello, super producer Mike Mogis and other past Bright Eyes collaborators all help flesh out Digital‘s electronic orchestra of implied melody. With nary an acoustic strum in sight, Oberst utilizes the modern gift of post-production to give his interim sound life. For an artist who’s archetypal methods are rooted in pure songwriting ability, an undertaking like Digital works as something of an axis for the future of his sound.

There really isn’t a whole lot wrong with Digital Ash per se. Oberst’s ability to take on new sounds is somewhat convincing, although, if you are looking for domineering electro-rock, this isn’t the cream of the crop. If you are in love with I’m Wide Awake, It’s Morning, then pick up Digital Ash as a stellar companion piece and a peek into the future of pop rock. If it’s a grand gesture you desire, this is it, if you’re looking for power and relevance, keep moving. But no matter what you do, make sure to pick up Awake. Did I mention Bob Dylan Okay, I can go now. See you next year on “Conor Grows a Beard, Paints his Face and Takes a Crack at Dudes.”    7/10

Written by G. William Locke