Name: Down In The Weeds,Where The World Once Was
Brand: Bright Eyes

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

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Download code: No

Bonus disc

Bonus disc: No

Release date

2020-08-21

Format multiplier

Catalogue number

141246

UPC / Barcode

656605151021

141242

656605151014

Ltd.

141243

656605151045

Artist

Bright Eyes

Label EU

Dead Oceans

Genre EU

Indie Pop / Shoegaze

Bright Eyes is an American indie rock band founded by singer-songwriter and guitarist Conor Oberst. The band consists of Oberst, multi-instrumentalist and producer Mike Mogis, trumpet and piano player Nate Walcott, and a rotating lineup of collaborators from Omaha's indie music scene. Bright Eyes is signed to Saddle Creek Records, a Nebraska-based label founded by Conor Oberst's brother Justin Oberst and Mike Mogis. They have been active since 1995 with a hiatus from 2011 to 2020.
Known for their introspective lyrics and emotive sound, Bright Eyes has garnered critical acclaim throughout their career. Their music often explores themes of love, loss, and existentialism with poetic depth. Conor Oberst's distinctive voice combined with the band's eclectic instrumentation creates a unique sonic experience that resonates with fans worldwide.
With numerous albums under their belt, including "Fevers and Mirrors," "I'm Wide Awake, It's Morning," and "The People's Key," Bright Eyes has established themselves as one of the most influential indie rock bands of their generation. Their live performances are known for their raw energy and emotional intensity, captivating audiences wherever they go.

Dead Oceans is a US label based in Bloomington, Indiana. Established in 2007 by Ben Swanson, Chris Swanson, Darius Van Arman, and Phil Waldorf, it is closely affiliated with Secretly Canadian and Jagjaguwar. This label has become the home for renowned artists such as Mitski, Kevin Morby, Phoebe Bridgers, Khruangbin, and Slowdive.
With its roots deeply intertwined with other successful labels like Secretly Canadian and Jagjaguwar, Dead Oceans has established itself as a prominent force in the music industry since its inception in 2007. Founded by Ben Swanson, Chris Swanson, Darius Van Arman, and Phil Waldorf alongside Austin-based collaborator Phil Waldorf; this label continues to nurture exceptional talent.
The roster of Dead Oceans boasts an impressive lineup of diverse musicians who have gained recognition worldwide. Artists such as Mitski with her emotionally charged songs, Kevin Morby's introspective melodies, Phoebe Bridgers' hauntingly beautiful tunes, the mesmerizing sounds of Khruangbin and the ethereal shoegaze revivalists Slowdive all call Dead Oceans their current musical home.

Newest Listed Items

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.

Down In The Weeds,Where The World Once Was

Music EU