about a series of outlandish conspiracy theories. Each opening montage is kind of like the dark tunnel at the start of a Disneyland ride: a cryptic introduction to whatever vibrant world Bright Eyes have created within that record.opens, of course, with another one of these introductory calling cards. But this time is different, because the opening sequence isn’t delivered by a band member or even a stranger on some dug-up archival audio.
Oberst is acknowledging 20-plus years of dark music. Whether it’s with Bright Eyes, his own folk-leaning solo recordings or one of his other bands or projects , Oberst has always had a flair for despair. It’s a good thing, then, that Walcott and Mogis design such buoyant compositions. They’re the “bright” in Bright Eyes.
“I still wish we could be out there, but we’re so lucky to have jobs that we can kind of do this way,” Oberst said. “We have roofs over our heads and we have money, and with what everyone else is going through, I think the world can live without rock shows for a little while.” “I think there was some kind of conscious effort to have some familiar touchstones to other albums,” Mogis adds. “And there’s something kind of nostalgic about it that’s even comforting to us to some degree, or at least to me.”as well as new emotions. Walcott mentions implementing the hammer dulcimer, which he most associates with “old Bright Eyes stuff.
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