In 2004, Bright Eyes’ Conor Oberst and Mike Mogis, My Morning Jacket’s Jim James, and M. Ward combined for the “An Evening with Bright Eyes, Jim James and M. Ward’ tour. Now, the four have released a self titled album as supergroup “Monsters of Folk”. You’d be forgiven for thinking this is just another outlet for Oberst to release his somewhat predictable material, but each member brings their own distinctive style to the table for Monsters of Folk, and the resulting sound is quite refreshing.
Opener “Dear God (Sincerely M.O.F)”, whilst its trip hop influences may seem surprising, showcases each of the three singer’s voices on their own, each carrying a verse. The result is a stunning track, with each singer pleading with God in their own articulate fashion. For the rest of the 15-track album, they are well and truly a band, singing in harmony to deliver several tracks that are just as good, if not better, than what many of the individual artist’s fans had been expecting.
Oberst is, as ever, reflecting on the past in typically cynical style throughout the album. “The worst part is the way those thoughts can please you” comments Oberst on the topic of grieving on second track “Say Please”. Later, on “Temazcal”, he confesses “The love we made at gunpoint wasn’t love at all”. This is the songwriter that Bright Eyes fans have come to adore and if they were concerned that his characteristic tone would get lost amongst the rest of the band’s influence, then they need not worry.
There is, unfortunately, a midway slumber in the record where you feel as though they almost lost their way. Tracks such as “Man Named Truth” and “Goodway” feel repetitive, strung out and, whilst those tracks are admittedly catchy, the album definitely makes a welcome return to it’s slower pace on “Slow Down Jo”. This doesn’t detract from the overall value of the album, but you certainly feel as though the album starts and finishes on much stronger notes.
Perhaps one of the best tracks on the album is “The Sandman, The Brakeman and Me”, prominently an M. Ward song. Ward delivers the despairing lyrics delicately and produces a melancholic, yet beautiful piece of music. The same can be said for closing track “His Master’s Voice” which sees Jim James contribute his finest vocals and finish the album impeccably, stating “You’re only gonna hear what you want to hear” before the trio’s voices become distorted and finally fade out.
A recurring theme throughout the album is spiritual yearning, yet it rarely creates the gloomy atmosphere you may expect. Instead, it sounds like three artists, whilst similar in essence, have offered contrasting musical traits, and allowed Mike Mogis to wrap them up and create the record they wanted as a collective. Whilst it may be easy to dismiss Mogis’ contribution to this album as he volunteers no vocals, if you listen carefully you will understand why this album simply wouldn’t be what it is without him.
Even if you are not a fan of their individual efforts, you may be pleasantly surprised if you give “Monsters of Folk” a chance. They have certainly dismissed any reservations critics may have had when hearing their misconceiving name, and may well have released what is arguably one of the most essential albums of the year.
