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Noise Floor (Rarities 1998-2005)

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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Released toward the end of 2006, a year that was unusually quiet for the unusually prolific Conor Oberst, Noise Floor Rarities 1998-2005 gathers up 16 odds and ends Bright Eyes has released in the past seven years. Those seven years saw Oberst rise from indie wunderkind to indie superstar, but Noise Floor doesn't trace that rise, nor does it offer a complete chronicle of rarities from that time. It's a collection of stray songs -- things released as singles or B-sides, things that have never appeared before -- and it feels that way, lacking the overall thematic purpose of either of his 2005 albums, I'm Wide Awake, It's Morning or Digital Ash in a Digital Urn. ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Released toward the end of 2006, a year that was unusually quiet for the unusually prolific Conor Oberst, Noise Floor Rarities 1998-2005 gathers up 16 odds and ends Bright Eyes has released in the past seven years. Those seven years saw Oberst rise from indie wunderkind to indie superstar, but Noise Floor doesn't trace that rise, nor does it offer a complete chronicle of rarities from that time. It's a collection of stray songs -- things released as singles or B-sides, things that have never appeared before -- and it feels that way, lacking the overall thematic purpose of either of his 2005 albums, I'm Wide Awake, It's Morning or Digital Ash in a Digital Urn. Those albums were ultimately genre exercises -- a country-rock record paired with a Postal Service indie pop record -- but this captures a less self-conscious Oberst, which is often a better Oberst. Not that this will change any doubters' minds -- his voice and lyrics remain acquired tastes, especially when paired to winding folk tunes -- but this actually showcases a greater musical and emotional range than I'm Wide Awake, even if it still can succumb to solipsism a little too often. The ballads remain a little turgid, but his cover of Spoon's "Spent on Rainy Days" has real venom and momentum, "Happy Birthday to Me" rambles by on a genuine weariness, his take on Jimmy LaValle's "Bad Blood" is Oberst at his classic lo-fi pop peak, and -- best of all -- the instrumental version of Matt Ward's "Seashell Tale" has a lightness of touch rarely found in his work. Such small but worthwhile revelations are often tucked away on rarities collections like this, and it's nice that Noise Floor emphasizes this side of Oberst, illustrating that when he's not trying too hard he's not half bad.
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Product Details

  • Release Date: 10/24/2006
  • Label: Saddle Creek
  • UPC: 648401009927
  • Catalog Number: 99
  • Sales rank: 90,709

Album Credits

Performance Credits
Bright Eyes Primary Artist
Casey Scott Guitar
Alex McManus Organ, Guitar, Violin, Cello, Theremin
Britt Daniel Bass, Guitar, Vocals
Andy LeMaster Keyboards, Vocals
Mike Mogis Bass, Dobro, Guitar, Pedal Steel Guitar, Vocals, Noise, electronics
Clark Baechle Clarinet, Percussion, Drums
Mike Sweeney Drums
Maria Taylor Organ, Drums, Vocals
Tim Kasher Guitar, Piano, Accordion
Joe Knapp Shaker, tin whistle
Conor Oberst Guitar, Piano, Keyboards, Vocals, Noise, Various, Sampling
Matt Baum Drums
Neely Jenkins Vocals
Gretta Cohn Cello
Stefanie Drootin Bass
Nick White Piano
Cynthia Maine Vocals
Steve Micek Drums
Jeff Tafolla Vocals
Technical Credits
Alex McManus drum programming
Britt Daniel Composer
Mike Mogis Composer, Sound Effects
Jimmy LaValle Composer
Tim Kasher drum programming
Doug Van Sloun Mastering
Zack Nipper Artwork
Electric Shepherd Programming
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  • Anonymous

    Posted October 26, 2008

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