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Cassadaga
     

Cassadaga

4.2 5
by Bright Eyes
 

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Call him pretentious, call him sensitive, call him what you will, but there's no denying the fact that Conor Oberst is a talented and intelligent songwriter. Actually, it's probably more correct to say that Bright Eyes are a group of talented and intelligent songwriters, because it's the pedal steel, the clamorous percussion, the

Overview

Call him pretentious, call him sensitive, call him what you will, but there's no denying the fact that Conor Oberst is a talented and intelligent songwriter. Actually, it's probably more correct to say that Bright Eyes are a group of talented and intelligent songwriters, because it's the pedal steel, the clamorous percussion, the orchestral arrangements, the thick background vocals that add to the songs in Cassadaga -- the band's fullest and most developed record to date -- almost as much as the lead singer's own wobbly voice and sharp lyrics. Because the album is, like all of Bright Eyes' albums, very much about the words. Besides the usual swatch of Middle America character sketches and the occasional political allusions, Oberst writes dialogue that travels throughout the record, questioning religion and truth and love and purpose the entire time. He knows he has to go somewhere, and he's hoping that if he just keeps moving, where exactly that is will make itself clear. "Cassadaga might be just a premonition of a place you're going to visit," a psychic says to him in the opener, "Clairaudients (Kill or Be Killed)," which acts an introduction to both the album's musical (slightly spacy, organic acoustic melodies) and lyrical (direction, control) themes. Oberst sees himself in a place where "everything must belong somewhere" and "death may come invisible," a place where mystics and clairvoyants can tell us as much about our own selves as we can, a place where destiny exists, a place where God is both an omnipotent "Brakeman" and a myth construed in books. Perhaps because of this, Oberst appears more unsure than he ever has. But also because of this, this lack of control, it's not an insecurity about himself that he feels, but rather a kind of shadowy acceptance of the uncertainty of life. "The 'I don't know,' the 'maybe so'/Is the only real reply," which he sings on the stormy Western dirge "Middleman," his voice accepting and empty at the same time, is the most truthful assurance he can offer. Because, despite the gravity of the ideas presented on Cassadaga, it's not a depressing or even overly serious album. Rather, it's finding what you can, be it a geographic location or a mind state, when and how you can, amid the incomprehensible world around you; it's Americana, full of folky acoustic guitars and dobro and dissent and yet, still, a kind of hopeful optimism that can't hide itself completely under the strings, clarinets, and cynical irony; it's a mature interpretation of life, not just whining complaints. "I'm leaving this place but there's nothing I'm planning to take/Just you," Oberst confesses on "No One Would Riot for Less." Where he's going -- Manhattan, California, the Hague, New England, or even Cassadaga itself -- he doesn't know, but he's going to keep looking until he finds it, and he's got his guitar, his simple chords, his verses and choruses, to help him (and perhaps us) along.

Product Details

Release Date:
04/10/2007
Label:
Saddle Creek
UPC:
0648401010329
catalogNumber:
103
Rank:
121988

Related Subjects

Tracks

Album Credits

Performance Credits

Bright Eyes   Primary Artist
Bill Meyers   Conductor
John McEntire   Percussion,electronics
Gillian Welch   Vocals
Suzie Katayama   Conductor
Dan Bitney   Percussion
David Rawlings   Guitar
Michael Zerang   Percussion
Janet Weiss   Drums
Andy LeMaster   Vocals
Mike Mogis   Bass,Dobro,Guitar,Mandolin,Percussion,Pedal Steel Guitar,Glockenspiel,Ukulele,Vocals,Baritone,12-string Guitar,Vibes,Lap Steel Guitar
Clark Baechle   Percussion
Ted Stevens   Vocals
Shane Aspegren   Percussion,Drums
Maria Taylor   Drums
Dan Fliegel   Percussion
M. Ward   Guitar,Vocals
Jake Bellows   Vocals
Jason Boesel   Drums,Vocals
Conor Oberst   Synthesizer,Guitar,Piano,Vocals
Tim Luntzel   Bass
Nate Walcott   Organ,Piano,Electric Piano
Rachael Yamagata   Vocals
Sherri DuPree   Vocals
Stacy DuPree   Vocals
Jonathan Crawford   Percussion
Stefanie Drootin   Bass
David Moyer   Bass Clarinet
Z. Berg   Vocals
Anton Patzner   Violin
Sean Foley   Vocals
Hassan Lemtouni   Vocals
Sarah Wass   Flute
Myka Miller   Oboe
Dan Fliegel   Percussion
Brian Walsh   Clarinet,Bass Clarinet

Technical Credits

Louis Schefano   Engineer
Juan Carrera   Management
Mike Mogis   Engineer
Jason Boesel   Composer
Conor Oberst   Composer
Zack Nipper   Artwork
Nate Walcott   Composer,String Arrangements,Orchestral Arrangements,Woodwind Arrangement
Nate Krenkel   Management

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Cassadaga 4.2 out of 5 based on 0 ratings. 5 reviews.
Guest More than 1 year ago
conor oberst polishes his sound up for his most developed record to date. 'cassadaga' is backed by talented musicians & the power of conor's lyrics stay the same. the album is started with a psychic talking about a town of seers in florida called cassadaga, encouraging conor to find himself. the entire album stems from this phone call. from here, conor questions god, the people around him, and especially himself. this album is phenominally written, passionate, and is one of his best to date.
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