Bright Eyes

Cassadaga (Saddle Creek)

Named for a Florida spiritualist community, Bright Eyes’ seventh studio LP takes its tenuous conceit from communion with the dead. Although Conor Oberst has never been particularly well-attuned to voices outside of himself, Cassadaga manages a better balance of the political and personal as exemplified on “Four Winds” and “Cleanse Song.” Saddle Creek über-producer Mike Mogis accentuates Oberst’s continued channeling of Dylan with dusty layers of mandolin, Dobro, and pedal steel, while Gillian Welch, M. Ward, and Sleater-Kinney’s Janet Weiss, if not fully taken advantage of, at least provide depth throughout. For all of the expectations the album fulfills, it also lacks an overall edge; “Classic Cars” is more Jackson Browne than Gram Parsons, and “Make a Plan to Love Me” squanders an entire orchestra. Cassadaga, while not exceptional in Oberst’s canon, demonstrates a maturity that ensures his legacy beyond emo-folk.

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This article appears in April 13 • 2007.

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Doug Freeman has been writing for the Austin Chronicle since 2007, covering the arts and music scene in the city. He is originally from Virginia and earned his Masters Degree from the University of Texas. He is also co-editor of The Austin Chronicle Music Anthology, published by UT Press.