Conor Oberst and his contributors Mike Mogis and Nate Walcott, better known as Bright Eyes, are back with a new six-track EP. The purpose of this mini-collection is obviously to whet the appetite of listeners in anticipation of the group’s next full-length release, due out on April 10.
The EP, entitled Four Winds, takes it’s name from the first single off the upcoming Cassadaga record. In addition to this radio-friendly groove, the record contains five b-side cuts that did not make the final album line-up.
While “b-side” can sometimes translate to “sub par,” these can also be tracks that simply did not fit the overall character of the final product. With Four Winds, for the most part, the latter seems to be true.
The opening track, “Four Winds,” kicks off the EP with whining violin, foot-stomping bass and drums, and of course, Oberst’s deftly poetic lyrics. The song’s catchy, country feel gives way to several mini-jam sessions. Plus, the slightly atonal harmonies that fill the chorus are vintage Bright Eyes.
The second track carries on at a high standard. “Reinvent the Wheel” has an Elvis Costello-like, New Wave tone, featuring vamping piano and distorted lead guitar.
Here, however, the listener can perhaps hear why this song did not make the final cut. The song’s extra helping of string arrangements, harmonica, and in general, over-the-top production feels out of step with the opener, and presumably with the other tracks on Cassadaga.
The gentle, mournful “Smoke Without Fire” is also noteworthy. This song is as stripped-down as it gets. Built around Oberst’s voice and simple finger-picking guitar work, the song is a duet with M. Ward, who will also appear on the upcoming record. Together, their voices compliment each other, producing a deeply introspective sound.
Unfortunately, their combined talent never quite rescues this song from the overly dreary. The best sad songs offer a sense of transcendence, and not just pain and turmoil. This ballad never completely breaks free from its own depression.
Finally, the EP’s closer, “Tourist Trap,” shows Oberst returning to form. Another minimalist track, this song allows Oberst’s writing to shine. It is a moving portrait of the modern cityscape, filled with the singer’s feelings of obscurity and estrangement.
Overall, Four Winds is about what one would expect: a somewhat uneven glimpse at the themes and sounds to come from Bright Eyes this spring. There are a handful of worthy tracks, but, as is the case with many EPs, there is little to unite the disparate strands.
