Stream ‘Forced Convalescence,’ Another New Song from Conor Oberst and Bright Eyes (ft. Flea on Bass)

Rock Cellar Magazine StaffCategories:Latest News

Rock Cellar Magazine

2020 looks to be a busy year for Conor Oberst — as he reconvened with his band Bright Eyes for a new song, “Persona Non Grata,” which was premiered in late March.

The first bit of new music from the celebrated indie/rock band since 2011, it was met with acclaim from fans and has since been followed with another track, “Forced Convalescence,” which premiered on Tuesday and features bass from Flea of the Red Hot Chili Peppers:

A bit about the personnel behind the new track, per a press release:

“Forced Convalescence” features Conor Oberst (vocal), Nathaniel Walcott (piano, mellotron, synthesizers, harpsichord, choir arrangement), Mike Mogis (electric guitar), Flea (bass), Jon Theodore (drums, percussion) and Kip Skitter (percussion). The Choir are Jason McGee (conductor), James Connor, Quishima Dixon, Natalie Ganther, Anthony Johnson, Edward Lawson, Jennifer Lee, Sharetta Morgan-Harmon and Marquee Perkins. It is produced by Bright Eyes, engineered by Michael Harris and Steve Churchyard – assisted by Chris Cerullo and Chandler Harrod. Mixing by Mike Mogis. Mastering by Bob Ludwig. Written by Conor Oberst and Nathaniel Walcott.
Mike Mogis, by the way, mixed the upcoming Phoebe Bridgers album Punisher — which also involves Oberst on a few tracks and Wolcott on horn duty, as well.

Below, listen to “Persona Non Grata”:

When first announcing the reunion activities and new music plans (and tour dates which will be rescheduled due to COVID-19 concerns), Bright Eyes also issued a lengthy statement summing up its existence to this point:

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 Mirrorswas released 20 years ago this May, while Digital Ash in a Digital Urnand 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.
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.

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