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Though not identifying as \"religious\" in the slightest, Morby-the globetrotting son of Kansas City who has made music while living on both coasts before recently returning to his Midwestern stomping grounds-recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he sat down in his form of church-on planes and in beds-and wrote what would become his first true concept-album: the lavish, resplendent, career-best double LP Oh My God.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOh My God\u003c\/li\u003e\n\u003cli\u003eNo Halo\u003c\/li\u003e\n\u003cli\u003eNothing Sacred \/ All Things Wild\u003c\/li\u003e\n\u003cli\u003eOmg Rock N Roll\u003c\/li\u003e\n\u003cli\u003eSeven Devils\u003c\/li\u003e\n\u003cli\u003eHail Mary\u003c\/li\u003e\n\u003cli\u003ePiss River\u003c\/li\u003e\n\u003cli\u003eSavannah\u003c\/li\u003e\n\u003cli\u003eStorm (Beneath the Weather) 1\u003c\/li\u003e\n\u003cli\u003eCongratulations 1\u003c\/li\u003e\n\u003cli\u003eI Want to Be Clean 1\u003c\/li\u003e\n\u003cli\u003eSing a Glad Song 1\u003c\/li\u003e\n\u003cli\u003eBallad of Faye 1\u003c\/li\u003e\n\u003cli\u003eO Behold\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 656605149127\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dead Oceans\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.26.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Kevin Morby","offers":[{"title":"Default Title","offer_id":45455767142598,"sku":"78374","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3900311.jpg?v=1768500456"},{"product_id":"are-we-all-angels-cd","title":"Are We All Angels [CD]","description":"\u003cp\u003eScowl is a band that sounds exactly like their name implies.Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last fiveyears, the Santa Cruz, California, band has firmly planted their flag in thehardcore scene with their vicious sound and ripping live show, sharing stagesaround the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and fillingslots at prominent festivals like Coachella, Sick New World, and Reading andLeeds. But with their new album, Are We All Angels (Dead Oceans), Scowl isaiming to funnel all that aggression through a more expansive version ofthemselves.Much of Are We All Angels grapples with Scowl's newfound place inthe hardcore scene, a community which has both embraced the band andmade them something of a lightning rod over the past few years. Standoutsingle \"Not Hell, Not Heaven\" outright rejects the narratives cast onto them byoutsiders. \"It's about feeling victimized and being a victim, but not wanting toidentify with being a victim,\" explains vocalist Kat Moss. \"It's trying to find gracein the fact that I have my power. I live in my reality. You have to deal withwhatever you're dealing with, and it ain't working for me.\" The band breaks froma sense of disassociation to seek deeper connections on \"Fantasy.\" \"It'sincredibly challenging to try to balance my love for the scene while also feeling,in some spaces, extremely alienated and hated,\" Moss says. \"'Fantasy' is aboutfeeling like I don't know how to connect with these people anymore, because Ihave shelled myself away so hard.\"The album ends in a philosophical place on the closing, titular track,\"Are We All Angels,\" asking questions like, \"Is this all there is?\" and ultimatelyputting it on the listener to decide. \"It's about the personal struggle betweengood and evil. It doesn't matter how 'good' or 'bad' you are, there are systemsthat will try to rewrite your narrative no matter what you actually do,\" explainsMoss, noting that punctuation on \"Are We All Angels\" has been deliberatelyomitted in an attempt to leave the statement open-ended. Are We All Angels isthe highly anticipated follow-up to Scowl's debut, 2021's How Flowers Grow, a16-minute primal scream over punishing riffs. But amidst the pounding chaos, itwas the record's sonic outlier, a cleaner interlude called \"Seeds to Sow,\" that,true to it's name, planted the seed for what was to come for the band. \"It kind oflaid out this destiny for us, and I feel like now we're fulfilling that,\" says drummerCole Gilbert. The band continued to expand their sound on 2023's widelyacclaimed Psychic Dance Routine EP, incorporating more pop hooks andfavoring gentler singing over heavy screaming, paving the way for what wouldcome next.Scowl's growth got a huge boost from producer Will Yip (Turnstile,Title Fight, Code Orange, Balance and Composure), who broadened the band'sscope. \"Will would say, 'Everything you have here is correct, but it's in the wrongplace,'\" says Gilbert. Moss adds: \"Will really helped restructure a lot of thematerial. Some songs he tore apart to make more space for the really goodhooks and choruses.\" But even through this more eclectic approach, Scowlloses none of their edge, and still manages to convey the anger and frustrationthat lies underneath. 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City Music is riding the Q Train out to Coney Island to smell the ocean and a morning in Philadelphia where great cranes reconfigure the buildings like an endless puzzle. City Music is also the new album by Kevin Morby. Full of listless wanderlust, it's a collection inspired by and devoted to the metropolitan experience across America and beyond by a songwriter cast from his own mould. It is a collection crafted using the other side of its creator's brain, the jumping off point perhaps best once again encapsulated by an image. \"Here, Lou Reed and Patti Smith stare out at the listener,\" explains Morby. City Music sees Morby joined once again by cohorts Megan Duffy (guitar) and Justin Sullivan (drums). Here the vocals were recorded at night, in darkness, overlooking a Pacific Ocean illuminated only by the stars, the wash and whisper of the ebbing tidal a distant soundtrack. The record was completed with Richard Swift in Oregon (producer of Foxygen, sometime member of The Black Keys). Here the album gives voice to all those cities speaking the same universal language of chaos and commerce and culture.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 656605143118\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dead Oceans\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.16.17\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"Kevin Morby","offers":[{"title":"Default Title","offer_id":45455794340038,"sku":"90611","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3204575-2472391.jpg?v=1768500855"},{"product_id":"sundowner-cd","title":"Sundowner [CD]","description":"\u003cp\u003eTo Whom It May Concern,\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eI am here to announce that my new album, Sundowner, will be out October 16th, 2020 via Dead Oceans. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eTHE WRITING: \u003c\/span\u003e\u003cspan\u003e(KANSAS CITY, KANSAS) \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eIn the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 off of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn't help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eAs the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o'clock in the summer, when the sunsets are warm and abstract. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eLanding back home felt jarring juxtaposed with a life full of chaos and adventure with my band on the road. But at the very least, I was happy to have - for the first time in my adulthood - a place to close the door, with no temptations other than to work on music and reflect on what I had built since I left. It was a new form of isolation, one I had never explored or expected to experience. Not ready to let go of the hand of the California desert, I spent the winter decorating the best I knew how; with mementos from my previous home, cactus and aloe vera and covering the walls in pinewood - immediately earning my house it's nickname, The Little Los Angeles. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eTHE RECORDING: \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eSonic Ranch, Neve Room, \u003c\/span\u003e\u003cspan\u003eTornillo, Texas \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eIn January 2019 I contacted my friend and producer Brad Cook to help recreate what I had made in my shed. We chose to work in Texas; we wanted to make sure the record was done far away from any coastline, and in the heart of America. Brad played bass and some keys on the album, but beyond that he encouraged and inspired me to play almost everything else. All lead guitar, proper drums (save the drums on \"A Night At The Little Los Angeles\"), mellotron and what I believe to be the albums secret weapon - a WWII era collapsible and slightly out-of-tune pump organ - were performed by me. We did, however, bring in James Krivchenia towards the end of the session to fill out the percussion. It was an honor to work with him as he built maracas from pecans and played on the floor of the live room, adding flourish wherever he saw fit. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eOn the last evening of the session, after everything had wrapped, we all climbed on top of an empty water tower on the property, giving us a view in all directions. To the North you could see an endless Texas, with long wisps of cirrus clouds above the desert floor, and to the South there was Mexico, the recent detention camps only a mile beyond, with large cumulus clouds hovering over, bringing us to an ominous pause. To the West, towards the setting sun, the two families of clouds merged, holding the last light of the day in purple and orange. Below, a freight train cut the landscape in half as it whistled in the distance. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eAFTER \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eAlmost as soon as the session wrapped, I was off and away on press trips and then proper tours for Oh My God, which came out in April that same year. Sundowner sat inside of a hard drive back at Sonic Ranch and did not see the light of day, until I found myself, as did the rest of the world, stuck inside their home and in quarantine in March 2020. My second year of touring for Oh My God was cancelled. Brad, Jerry and I worked from our respective homes, sending notes back and forth as we worked alone but together to mix the album, and suddenly, just like that, Sundowner was finished. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eSongs, like sunsets, are fleeting, and it's only due to a willingness and desire to catch them that you ever, if even only for a moment, grab a hold of one. When writing Sundowner, I was lucky to have had the Tascam 424 there to help capture both. Sundowner is my attempt to put the Middle American twilight - it's beauty profound, though not always immediate - into sound. It is a depiction of isolation. Of the past. Of an uncertain future. Of provisions. Of an omen. Of a dead deer. Of an icon. Of a Los Angeles themed hotel in rural Kansas. Of billowing campfires, a mermaid and a highway lined in rabbit fur. 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On Introducing... - his debut solo album produced by The Black Keys' Dan Auerbach, co-released on Easy Eye Sound and Dead Oceans - Aaron melds mid-'60s soul with Auerbach's particular sensibilities ('Over You'), songs with a message in the key of Gil Scott-Heron ('Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop ('Have Mercy').The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and colead singer of Durand Jones \u0026amp; The Indications, but he's more than a revivalist act. \"I didn't want Introducing... to be an exact recreation of an era or a style,\" Frazer says. \"I'm excited to keep breaking some of the expectations around what exactly I'm supposed to be artistically and musically, or what this scene as a whole can be.\" On Introducing..., Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. 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But occasionally, an artist proves the form more malleable and capacious than we knew. With Laurel Hell, Mitski cements her reputation as an artist in possession of such power - capable of using her talent to perform the alchemy that turns our most savage and alienated experiences into the very elixir that cures them.\u003c\/p\u003e\r\n\u003cp\u003eHer critically beloved last album, Be the Cowboy, built on the breakout acclaim of 2016’s Puberty 2 and launched her from cult favorite to indie star. She ascended amid a fever of national division, and the grind of touring and pitfalls of increased visibility influenced her music as much as her spirit. Like the mountain laurels for this new album is named, public perception, like the intoxicating prism of the internet, can offer an alluring façade that obscures a deadly trap—one that tightens the more you struggle. 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It's more a kaleidoscopic mirage, where paths taken shapeshift with the prospect of paths untread, and the subconscious merges with the intentional. On his self-titled new album, the Philadelphia-based songwriter and multi-instrumentalist investigates the shaky camera of memory, striving to carve out a collage that points to a truth. But there isn't a regimented actuality here; instead, Mendez highlights the merit in many truths, and many lives, and how even the hardest truths can still contain some humor. While this is technically Mendez's third full-length album, his back catalog boasts an extensive range of EPs and live recordings. He's a prolific and thoughtful songwriter, understanding the joy in impulse, and shying away from the clinical sheen of overproduction. 2017's \"-\\ _(?)_ \/-\" and 2020's Cherry Hell garnered acclaim for their quiet, lo-fi urgency, exploring themes of addiction and heartbreak with an intentional, authentic haze, and it's this approach that has solidified Mendez as a staple in the DIY community for years. Greg Mendez was written in fragments, some stretching across more than a decade, with Mendez reworking old ideas and arrangements, and others blossoming much more recently. The weight of time-and perhaps the anxiety in running out of it-clouds the album, as Mendez prods at some painful experiences from his childhood and early adulthood. The common thread connecting the characters is their evident imperfections, and the various degrees of damage they cause, both knowingly and unknowingly. But where do we draw the line between a good person and a bad person? 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Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThough he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On \u003c\/span\u003e\u003cem\u003eAli\u003c\/em\u003e\u003cspan\u003e, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. 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Then came Muchacho, a juggernaut that to date has sold over 100,000 worldwide, with lead single “Song for Zula” now well over 50 million streams. Now, ve years later, Phosphorescent returns with his seventh studio LP, C’est La Vie. Recorded in Nashville at Matthew Houck’s own Spirit Sounds Studio, C’est La Vie reveals a crystallization of what made Muchacho such a breakout — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative.\u003c\/p\u003e\r\n\u003cp\u003eA lot of life was lived between these records: Houck became a father (twice), built his studio, escaped New York. And C’est La Vie does have a hefty, career-spanning feel. But there’s a newfound wisdom, too, a deeper well for all that livin’. The magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. It’s not experimental, exactly, but it’s singular and it’s definitely not traditional. 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Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), SCOWL is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with SCOWL's newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single \"Not Hell, Not Heaven\" outright rejects the narratives cast onto them by outsiders. \"It's about feeling victimized and being a victim, but not wanting to identify with being a victim,\" explains vocalist Kat Moss. \"It's trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain't working for me.\" The band breaks from a sense of disassociation to seek deeper connections on \"Fantasy.\" \"It's incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated,\" Moss says. \"'Fantasy' is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard.\" The album ends in a philosophical place on the closing, titular track, \"Are We All Angels,\" asking questions like, \"Is this all there is?\" and ultimately putting it on the listener to decide. \"It's about the personal struggle between good and evil. It doesn't matter how 'good' or 'bad' you are, there are systems that will try to rewrite your narrative no matter what you actually do,\" explains Moss, noting that punctuation on \"Are We All Angels\" has been deliberately omitted in an attempt to leave the statement open-ended.Are We All Angels is the highly anticipated follow-up to SCOWL's debut, 2021's How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record's sonic outlier, a cleaner interlude called \"Seeds to Sow,\" that, true to it's name, planted the seed for what was to come for the band. \"It kind of laid out this destiny for us, and I feel like now we're fulfilling that,\" says drummer Cole Gilbert. 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Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him. Produced by Sam Cohen (who also worked on Morby's Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby's live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we're still here? 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An unapologetic new album with Grammy winning producer John Congleton at the helm; it's souped up and supercharged. It's exactly where you want shame to be.Still in their twenties, the five childhood friends - Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist Josh Finerty and drummer Charlie Forbes - have grown Shame exponentially, with ambitious sonic ideas and the technical chops to execute them. Having proved themselves several times over with legendary live shows and three critically-acclaimed albums under their belts, Shame went into Cutthroat ready to create a new Ground Zero. \"This is about who we are,\" says Steen. \"Our live shows aren't performance art - they're direct, confrontational and raw. That's always been the root of us. We live in crazy times. But it's not about 'Poor me.' It's about 'Fuck you'.\" Crucial to this incendiary new outlook was producer John Congleton (St. Vincent, Angel Olsen). 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An unapologetic new album with Grammy winning producer John Congleton at the helm; it's souped up and supercharged. It's exactly where you want shame to be.Still in their twenties, the five childhood friends - Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist Josh Finerty and drummer Charlie Forbes - have grown Shame exponentially, with ambitious sonic ideas and the technical chops to execute them. Having proved themselves several times over with legendary live shows and three critically-acclaimed albums under their belts, Shame went into Cutthroat ready to create a new Ground Zero. \"This is about who we are,\" says Steen. \"Our live shows aren't performance art - they're direct, confrontational and raw. That's always been the root of us. We live in crazy times. But it's not about 'Poor me.' It's about 'Fuck you'.\" Crucial to this incendiary new outlook was producer John Congleton (St. Vincent, Angel Olsen). From their initial meeting, Congleton's no-bullshit approach became a guiding force to streamline the band's ideas.Stamped throughout with Shame's trademark sense of humour, the album takes on the big issues of today and gleefully toys with them. Casting a merciless eye on themes of conflict and corruption; hunger and desire; lust, envy and the omnipresent shadow of cowardice.Musically, too, the record plays with visceral new ideas. Making electronic music on tour for fun, Coyle-Smith had previously seen the loops he was crafting as a separate entity to the things he wrote for Shame. Then, he realised, maybe they didn't have to be. \"This time, anything could go if it sounded good and you got it right,\" he says.The result is an album that revels in the idiosyncrasies of life, raising an eyebrow and asking the ugly questions that so often get tactfully brushed over. \"I'm not here to answer the questions, I'm a 27-year-old idiot..\" Steen caveats with a self-effacing chuckle. 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Hers is a specific and singular corner of the Great AmericanSongwriters, artists like David Berman, Adrianne Lenker, Jeff Tweedy and Sufjan Stevens.They're artists connected by a sense of immediacy, not just in the writing - which is precise,evocative, brutal at times, pitch-back funny right when you need it - but by their delivery, bythe way they sing with an immersive, total belief that carries you through their songs. Theseare the artists and songs that sneak up and really live with us forever, and on My Light, MyDestroyer, Jenkins joins their ranks.What's most remarkable about My Light, My Destroyer is it captures anartist at an exciting leap in her evolution. So much about the album feels of-a-kind with it'spredecessors; field recordings and found sound permeate, narrative songwriting crashesinto heady, swirling compositions. Jenkins sings with what can only be described as a powerwhisper (think Sufjan Stevens, Annie Lennox, Margo Timmins or YHF-era Tweedy), hervocals up close and intimate but subtly confrontational. But it all feels bigger here, morefinely honed, bolder and richer than her previous work and than her peers.Born and raised in New York City, Jenkins has been touring and performingsince she was a child, self-releasing her early recordings before releasing breakthrough AnOverview on Phenomenal Nature in 2021. On My Light, My Destroyer, many of the songs aredevoted to specific feelings, and to really getting inside those feelings as opposed to gettinginside a narrative arc. 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Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.\" Those two albums came out simultaneously. And their lead singles - \"Take It Easy (Love Nothing),\" from the austere, remote Digital Ash, and \"Lua,\" from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. \"First Day of My Life,\" also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.  Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, \"When The President Talks To God.\"  These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of \"harmonica and mandolins - folky vibes,\" Oberst says. 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Each song its own ceremony. The earth, sun and moon. Wingbones. Shadow maps and dream logic. Stoplights. Meat Trucks. The Father, Son and Holy Ghost. Cocaine. Wild eyed robbers. Hunchbacked derelicts. Broken down angels, Lepers. Gay Lithuanians. Cheaters. Sex. Beggars. Rabid dogs. Sirens. Undertows. Reverse magnetism. Cock fighting. Electric shock therapy. Trick birds. Floods. Ancient Hebrew texts. The Illuminati. Haboobs. Bleach. Expired medicine. Severed tongues. Dragons, Spirit telephones. Bees. Modern Architecture. Electric fences. Dianetics. ESP. Snakes. Poltergeist. Haunted spaces. Crop circles. Demons. Feedback loops. How does one capture lightning in a bottle? You could call me a witness, or better yet an interloper, briefly given the wheel to the mythological ship called Califone. Where others might have attempted to exercise the demons, I chose to let the spirits run wild. We bored under the earth's surface into its core until we reached the belly of the beast. These aren't Songs of Love and Hate. This is no Street Hassle. No Main Street here. This is music that was pulled from the abattoir of Chicago rock, tattered and bruised and barely breathing. 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