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“Bright Eyes have been on the doomsday tip for a long time,” he adds. “I think it sounds like our band, just hopefully a little more… like that nice vintage wine, it gets better with time.” The album’s themes of solitude and apocalyptic unease suit life in 2020.
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While Oberst’s mood may be at ease, Down in the Weeds is characteristically intense: a dramatic opus ranging from blown-out folk to gothy singalongs and atmospheric sound collages. Instead, he’s back in his hometown, where he first put his angsty, acoustic songs to tape in the ’90s, where he helped found Saddle Creek Records with his brother and a group of friends, where he established his roots as an indie lifer. Oberst’s primary recording project-now a trio with long-time collaborators Nate Walcott and Mike Mogis-was due for a full-blown comeback this year, with tour dates planned and videos to shoot. It’s an intimate glimpse into the unexpectedly domestic rollout for Down in the Weeds, Where the World Once Was, the first Bright Eyes album in nine years. “They’re the exact same color, so when they run around it’s pretty cute,” he admits. As they bark and chase each other around the room, he occasionally pauses mid-sentence to admire them at play. “Are you guys for real?” Speaking from his home in Omaha, Nebraska, Oberst frequently shifts his attention toward Lola, a mixed breed terrier, and Schatzi, a German Shepherd Lab mix. “They’re obnoxious,” he says, laughing, before addressing them directly.
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Conor Oberst keeps getting interrupted by his two dogs.