ISSUE #35 MMUSICMAG.COM ISSUE #35 MMUSICMAG.COM Q&A part of the process. By 2004 or 2005 Nick I can pick out things to dress it up. I start Why? was also part of the process. By then, the adding words and other embellishments. It’s not a struggle—it’s really fun. For me, three of us functioned as a band. And when my best work comes out very naturally from there are contributions to that extent, they So the music comes first. being patient and waiting for access to that deserve the credit for it. Bright Eyes became The melodies always come first. I sit with part of the brain. That’s what’s so exciting to a band, but it’s also me, solo. a guitar or at the piano, and once I have me. That’s what keeps me wanting to come the melody I start singing sounds, non- back for more. Why choose Jonathan Wilson? words—just vowel sounds. I get the chord I went through a pretty extensive process progression fluid, and then I’ll walk around Why select Dawes as your live band? attempting to choose who would produce with it for a few days or weeks. Then I try Jonathan introduced me to them—he the album. Jonathan, being one of my friends, out lyrics and find the phrasing that fits produced their two albums. They have was among them. He produced the Dawes into the melodies. the same atmosphere and style as I do—I records, and I like what he did with those. couldn’t be happier. I am excited to meet Once we had ideas flowing, I knew this How do you develop lyrics? up with them and start rehearsing. was how I wanted the record to be. We I let my mind wander and start tapping have a similar laidback approach, and he into my subconscious and the random Will having different players change became the main collaborator for the record. experiences of my life. I don’t really have a the tone of the songs live? Jonathan and I hear music the same way. method, apart from being patient and waiting It might. We won’t try and copy the album— for that lightning to strike. I’ve learned we’ll do our own interpretation. Certain How important is that? to have the patience and discipline to elements will be the same, but we’ll make At the end of the day, making and playing let it happen. the songs our own work. My songs have music is a collaborative process. If a producer is making big decisions that affect the record, then it’s collaborative. I’m the one who starts with the ideas and then works

Butch h ogan those into songs. But I only work with people who elevate my ideas.

Rumor has it this was slated to be a country music record. Because we recorded in Nashville some media called it country-influenced, because that’s the easiest description. It isn’t a country record; I don’t feel that element in it at all. There are a lot of elements at the CONOR OBERST core of what I do, but I always think that I The Bright Eyes frontman releases a new solo album write folk songs. Only folk? More than a decade ago, oMaha worked more closely with Saddle creek’s She and him’s M. Ward) and desaparecidos. I don’t believe in genre-hopping. I don’t like native conor oberst—as Bright eyes— co-founder and producer Mike Mogis and For Upside Down Mountain, he selected Los to think of musical fusion at all. That doesn’t ignited the neo-folk movement and put collaborated with multi-instrumentalist and angeles-based producer Jonathan Wilson to Chris McKay/Getty Images interest me. nebraska indie label Saddle creek on the arranger nathaniel Walcott. nonetheless helm the project and recorded at nashville’s map. Since then the singer-songwriter has Bright eyes is oberst—an impish savant Blackbird Studio, adding bassist Macey So recording in Nashville had little recorded as part of a number of different with a beguiling turn of phrase and a voice taylor, multi-instrumentalist Blake Mills, and influence on the sound of the record? groups, including conor oberst and the that’s equal parts ache and anguish, guile Swedish sibling folk-rock duo First aid Kit The city itself had no influence on the record. Onstage in Atlanta, 2014 Mystic Valley Band. But for his latest, his and grit. In 2002, his album Lifted or The to fill out the sound. We didn’t even get out in the city—we were nonesuch records debut Upside Down Story Is in the Soil, Keep Your Ear to the hunkered down in the studio. But the studio Mountain, oberst goes it alone. Ground set the tone for thoughtful young This is a solo album, so does that mean itself and the access to all the great gear Your songs often have ‘I only work with people the 34-year-old began his musical troubadours with band-like noms de plume Bright Eyes is you solo or is it a band? certainly made a difference. Jonathan and our long verses. meanderings as a teenager, recording on the like Phosphorescent and Bon Iver, as well as It’s all mostly me, and I suppose it seems like engineer, Andy LeMaster, were like kids in a I find it helpful to write way who elevate my ideas.’ age-old bedroom studio medium: cassette. a trend toward lengthy album titles. splitting hairs to call this a solo record. But candy store. That all rubbed off on me when more verses than I need. I’ll after disbanding his first group, commander oberst clearly values collaboration, and to me it makes sense. early on, Bright eyes it produced a certain result. I don’t know write eight or more verses, Venus, in 1997, he turned his focus to a new side projects include Monsters of Folk (with was just me and my four-track, recording on much about gear; it doesn’t mean that much and then get it down to what the song needs. three lives: The first is when they exist in project, Bright eyes. as time went by, oberst Mogis, My Morning Jacket’s Jim James, and my own. But then Mike Mogis became a big to me. I only know it’s great when I hear it. When it comes to the craft, I always write my mind as chords and lyrics, and the more and then refine it and edit it down. It’s second is when they’re recorded and Describe your writing process. a discipline I’ve learned over time. I used become physical things. Then the third It always starts with the chords and a vocal to write a song and say, “OK, done,” and is when they’re played live. And though ‘I don’t believe in genre-hopping. I don’t like to melody. I get the chord progression down. move onto the next. But now I go back and they’re still my songs, they become affected think of musical fusion at all.’ Once I feel it’s sturdy enough to stand on its think, “This line could be a little tighter.” The by whoever’s playing. own, I think of it as a big walk-in closet where process is a lot more satisfying. –Linda Laban

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