Bright Eyes man Conor Oberst has previously been reputed as one of the most prolific artists alive, often turning out release after release almost too quickly to digest the previous. It was with great relief to learn then that Bright Eyes had a new album out, but wait, it’s a compilation made up of unreleased songs, covers and tracks lost to the world of out of print records. Many people are in eager anticipation of a new Bright Eyes record, given the success of the 2005 double releases of ‘I’m Wide Awake, It’s Morning’ and ‘A Digital Ash in a Digital Urn’.

Nevertheless, these are effectively new songs to the UK audience for whom Bright Eyes may have come to light after most of the original releases were out of print in the US. This is not the first compilation of early or lost recordings mind, Bright Eyes previously released a compilation with the aptly named ‘A Collection of Songs written and recorded 1995-1997’. In this vain ‘Noise Floor’ provides a continuation in the series, though it is disappointing to not yet get a taste of the newer Bright Eyes material, that’s promised for spring 2007.

Regardless of the facts, where it matters this is definitely a Bright Eyes album; the distinctive Conor Oberst vocals are present along with similarly distinctive guitar playing. ‘Mirrors and Fevers’ goes through over 2 minutes of ambient sounds before a song which is just vocals, a typical opening track and a slightly stuttering, insecure feel to the vocals make this an enticing start. When the gorgeous ‘I Will Be Grateful for this Day’ kicks in the ride has begun and it’s going to be tough to get off. The dynamics in this song are becoming reflective of the sound Bright Eyes have involved into.

One characteristic blatantly obvious here is that for all the additional sounds present on newer recordings, the basic elements which won over an audience to Bright Eyes in the early days are still present and thriving in the grander structure now adopted for songs. ‘Trees Get Wheeled Away’ feels just right, in a hard to explain way, it’s a Bright Eyes song you’ve heard a hundred times before but will still love as much regardless of how many times it’s played. One of Oberst’s song writing strength has always been the storytelling nature of the songs, and the intelligent one liners oozing out of each track. Piano backed ‘Drunk Kid Catholic’ is a simple rendition of song, a few extra elements give this a nice feel, and the bridge reverts to Oberst’s aggressive vocal over what sounds like a PC modem dial tone. Group vocals finish this off in a style befitting.

‘Spent on Rainy Days’ sounds easily like it could’ve been an Elliott Smith song, ‘The Vanishing Act’ is a typical rendition through, another Bright Eyes song that we’ve heard a hundred times, although there’s still a hint of the Elliott Smith, which has never always been easily identifiable in the sound, but these two songs stand out really for me in this respect. ‘Soon You Will Be Leaving Your Man’ has a nice feel to it and does provide a shift in sound, a comforting one as things were becoming a little repetitive. ‘Blue Angels Air Show’ is an insight into the ‘Digital Ash in a Digital Urn’ sound came from. To talk through the rest of the album will be to confine you, the reader into much of the same, there was never much hint of innovation present, but these are the lesser cuts of songs that crafted some of Bright Eyes’ most accomplished albums, therefore may not always represent anything new or refreshing.

‘Weather Reports’ is another comparable to Elliott Smith, ‘Seashell Tale’ is another Bright Eyes slow burner, everything represents a sound that any serious Bright Eyes fan will already be familiar with. ‘Amy in the White Coat’ stands out for a slightly more subtle sound than that we’ve become accustomed to. Harmonised vocals on ‘Devil Town’ give it an extra kick, and there is still an innocent, awkward charm running through most of these recordings, internationally renowned band they may be, but Bright Eyes’ roots are deeply founded in the bedroom recordings, and true to form this compilation reflects those roots gloriously.

As if to add weight to this claim, ‘Motion Sickness’ tops off the bill brilliantly, a gloriously reflective number which claims over 6 minutes of your time but leaves you feeling totally blown away by the end, it truly is the best way to end this compilation. Overall, it’s disappointing that there is a lack of new material here, most of the 16-tracks sound like the Bright Eyes we all already know and love. This is a must have for the Bright Eyes collection, but if you’re a new listener, it may be better to go for one of 2005’s full lengths as an introduction, as this work mostly comprises the sort of songs that wouldn’t see people snapping at Bright Eyes’ heels for more.

Bright Eyes on Altsounds