Conor Oberst has long been regarded as one of indie-rock's finest lyricists, with comparisons to Dylan flowing forth for many years. The fact that he began his recording career at age 13 (under the moniker of Commander Venus) and eventually became an indie-rock sensation as Bright Eyes (with longtime cohort Mike Mogis) only added to his "boy wonder" status. Now 27, Oberst has recorded his first album under his own name and in a new locale (Mexico). While there are some notable differences between this album and his previous Bright Eyes' corpus (fewer instruments, somewhat less density in the lyrics), the indie-rock sound and approach remains essentially the same, a good thing given the talents he has revealed throughout his career. Of course, any "new Dylan" comparisons are bound to be overblown. But Oberst's lyrical approach, with line-to-line shifts from one image/idea to another, all the while holding onto a central thread of meaning, is more similar to Dylan's than any other present-day lyricist this reviewer is aware of. Take this passage from album opener "Cape Canaveral":

Conjuring up images and impressions of Florida, patriotism, Cape Canaveral (now Cape Kennedy), the 1960s, and the unusual feeling inherent in the phrase "comatose joy like re-run TV," and all in one verse, is impressive stuff. But combine this with the addition of beautiful ideas like seeing a "face age backwards" in one's memory AND a fable-like moral of victory being sweet "even deep in the cheap seats," still all in the same verse, is firm evidence of unbelievable lyrical talent. He many not be Dylan, but he is a worthy heir to his approach. Oberst can also be imagistic, political, and evocative of tender sadness in back to back lines, as in "Danny Callahan":

And, like Dylan, humor can often be front and center for Oberst, as when he sings in the brilliant and raucous stomper "I Don't' Want To Die (In The Hospital)":

As for the music, strummed acoustics, walking bass lines, and shuffling beats lend many of the songs a slightly country-ish air, but Oberst can also rock hard with the best of them (e.g., "NYC-Gone, Gone,", "Souled Out," and the aforementioned "I Don't Want To Die (In The Hospital)". In sum, if you haven't picked up any of Oberst' excellent work as Bright Eyes, this album is as good a place as any to start investigating the talents he has on offer. And if you are already an admirer (as yours truly so obviously is), Conor Oberst will do nothing to dim that admiration.