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    Bright Eyes - Down in the Weeds, Where the World Once Was (2020)

    Posted By: delpotro
    Bright Eyes - Down in the Weeds, Where the World Once Was (2020)

    Bright Eyes - Down in the Weeds, Where the World Once Was (2020)
    EAC Rip | FLAC (tracks+log+.cue) - 343 Mb | MP3 CBR 320 kbps - 126 Mb | 00:54:55
    Indie Pop, Indie Folk | Label: Dead Oceans

    Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst’s early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes’ music tries to unravel the impossible tangles of dissent: personal and political, external and internal. It’s a study of the beauty in unsteadiness in all its forms – in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it’s just about searching for a way through.

    The year 2020 is full of significant anniversaries for Bright Eyes. Fevers and Mirrors was released 20 years ago this May, while Digital Ash in a Digital Urn and I’m Wide Awake It’s Morning both turned 15 in January. The latter, a singer-songwriter tour-de-force released amidst the Bush presidency and Iraq war, wades through incisive anti-war rhetoric and micro, intimate calamities. On the title track and throughout the record, Oberst sings about body counts in the newspaper, televised wars, the bottomless pit of American greed, struggling to understand the world alongside one’s own turmoil. In its own way, I’m Wide Awake It’s Morning carved out its place in the canon of great anti-war albums by being both present and prophetic, its urgency enduring 15 years later.

    In 2011 the release of The People’s Key, Bright Eyes’ ninth and most recent album, ushered in an unofficial hiatus for the beloved project. In the time since, the work of the band’s core members – Oberst, multi-instrumentalist Mike Mogis, and multi-instrumentalist Nathaniel Walcott – has remained omnipresent, through both the members’ original work and collaboration.

    In recent years, Mogis produced records for beloved folk acts First Aid Kit and Joseph, among others, as well as mixed the fine-spun ennui of Phoebe Bridgers’ breakthrough 2017 debut, Stranger in the Alps. Mogis and bandmate Walcott also teamed up to write the original scores for The Fault in Our Stars, Stuck in Love, and Lovely Still, and Walcott worked as a solo composer scoring number of independent feature-length films. Walcott spent extensive time on collaboration; in addition to his arrangement work for Mavis Staples, First Aid Kit, and M. Ward, he contributed studio work to artists ranging from U2 to jazz guitarist Jeff Parker, and also toured heavily as a member of the Red Hot Chili Peppers.

    Oberst, who’s nearly 30 years into a prolific musical career, spent the last decade in similarly productive fashion. Across three years he released a string of solo albums: Salutations (2017), Ruminations (2016), and Upside Down Mountain (2014), as well as guested on records by First Aid Kit, Phoebe Bridgers, and Alt-J. His punk band, Desaparecidos, emerged from a 13-year hiatus in 2015 with the thunderous sophomore LP, Payola, a white-knuckled disarray of hollered political fury. And at the top of 2019, Oberst and Bridgers debuted their new band, Better Oblivion Community Center, digitally dropping the critically-lauded eponymous debut LP alongside a surprise performance on The Late Show with Stephen Colbert.

    The heart at Bright Eyes’ songwriting still looms culturally, in films and TV shows and through re-imaginings by other artists. Mac Miller covered both Lua and First Day of My Life; Lorde’s version of the penultimate The People’s Key track, the funereal-waltz Ladder Song, was a focal point of The Hunger Games’ soundtrack; The Killers covered Four Winds for their Spaceman EP; and Lil Peep’s Worlds Away samples Something Vague while Young Thug’s Me Or Us samples First Day of My Life.

    Bright Eyes’ expansive catalog has traversed genre, sound, and countless players; unpolished demos or fuzzy folk, electrified rock or country twang. The sharp songwriting and musicianship is all anchored in Bright Eyes’ singular ability to flip deep intimacy into something universal. For so many, for so long, listening to Bright Eyes has been like hearing yourself in someone else’s song – a moment of understanding or illumination, knowing you’re on the same team looking for a way to move through of all this shit.

    And while 2020 is a year of milestones for the band, it’s also the year Bright Eyes returns, newly signed to indie label Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Oberst, Mogis, and Walcott reunited under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes’ output. For Bright Eyes, this long-awaited re-emergence feels like coming home.
    Tracklist:
    1. Pageturners Rag (03:57)
    2. Dance and Sing (04:30)
    3. Just Once in the World (03:28)
    4. Mariana Trench (03:41)
    5. One and Done (04:53)
    6. Pan and Broom (02:52)
    7. Stairwell Song (03:40)
    8. Persona Non Grata (03:32)
    9. Tilt-A-Whirl (02:20)
    10. Hot Car in the Sun (02:27)
    11. Forced Convalescence (04:08)
    12. To Death's Heart (In Three Parts) (05:25)
    13. Calais to Dover (04:17)
    14. Comet Song (05:35)

    Exact Audio Copy V1.3 from 2. September 2016

    EAC extraction logfile from 20. August 2020, 11:43

    Unknown Artist / Unknown Title

    Used drive : HL-DT-STDVD+-RW GU90N Adapter: 1 ID: 0

    Read mode : Secure
    Utilize accurate stream : Yes
    Defeat audio cache : Yes
    Make use of C2 pointers : No

    Read offset correction : 6
    Overread into Lead-In and Lead-Out : No
    Fill up missing offset samples with silence : Yes
    Delete leading and trailing silent blocks : No
    Null samples used in CRC calculations : Yes
    Used interface : Native Win32 interface for Win NT & 2000
    Gap handling : Appended to previous track

    Used output format : User Defined Encoder
    Selected bitrate : 1024 kBit/s
    Quality : High
    Add ID3 tag : No
    Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
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    TOC of the extracted CD

    Track | Start | Length | Start sector | End sector
    ––––––––––––––––––––––––––––-
    1 | 0:00.00 | 3:58.25 | 0 | 17874
    2 | 3:58.25 | 4:30.61 | 17875 | 38185
    3 | 8:29.11 | 3:28.09 | 38186 | 53794
    4 | 11:57.20 | 3:41.55 | 53795 | 70424
    5 | 15:39.00 | 4:53.08 | 70425 | 92407
    6 | 20:32.08 | 2:52.57 | 92408 | 105364
    7 | 23:24.65 | 3:40.04 | 105365 | 121868
    8 | 27:04.69 | 3:32.32 | 121869 | 137800
    9 | 30:37.26 | 2:20.12 | 137801 | 148312
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    11 | 35:24.65 | 4:08.71 | 159365 | 178035
    12 | 39:33.61 | 5:25.74 | 178036 | 202484
    13 | 44:59.60 | 4:17.54 | 202485 | 221813
    14 | 49:17.39 | 5:38.01 | 221814 | 247164


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    Track 14

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    None of the tracks are present in the AccurateRip database

    No errors occurred

    End of status report

    –– CUETools DB Plugin V2.1.6

    [CTDB TOCID: ndK6A1wPFZXg8yEkj.XrMhrJpoI-] found
    Submit result: ndK6A1wPFZXg8yEkj.XrMhrJpoI- has been confirmed
    Track | CTDB Status
    1 | (2/2) Accurately ripped
    2 | (2/2) Accurately ripped
    3 | (2/2) Accurately ripped
    4 | (2/2) Accurately ripped
    5 | (2/2) Accurately ripped
    6 | (2/2) Accurately ripped
    7 | (2/2) Accurately ripped
    8 | (2/2) Accurately ripped
    9 | (2/2) Accurately ripped
    10 | (2/2) Accurately ripped
    11 | (2/2) Accurately ripped
    12 | (2/2) Accurately ripped
    13 | (2/2) Accurately ripped
    14 | (2/2) Accurately ripped


    ==== Log checksum A57011978BA16AFEB3B3F4C684C984979E9951F204CD1101FA0CDA16F647BC86 ====

    Thanks to the Original ripper !